Stanley Kauffmann

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For 461 reviews, this critic has graded:
  • 40% higher than the average critic
  • 2% same as the average critic
  • 58% lower than the average critic
On average, this critic grades 0.8 points higher than other critics. (0-100 point scale)

Stanley Kauffmann's Scores

  • Movies
  • TV
Average review score: 65
Highest review score: 100 Sling Blade
Lowest review score: 0 Hulk
Score distribution:
  1. Negative: 45 out of 461
461 movie reviews
    • 52 Metascore
    • 40 Stanley Kauffmann
    The best performance, the only one that can really be called acting, is Diane Ladd's as the mother. Ladd gives us a woman full of self-pity and shrewdness, full of sexual experience and guile, who has now reached the age when, if she wants to, she can turn off sexual heat in favor of cold power drive. [24 Sept 1990, p.32]
    • The New Republic
    • 79 Metascore
    • 80 Stanley Kauffmann
    It's not the most violent picture ever; what film could aspire to that title? But it's so well made, the violence is so gratuitous, and the general reception has been so delighted, that attention must be paid. [23 Nov 1992]
    • The New Republic
    • 78 Metascore
    • 90 Stanley Kauffmann
    The picture depends completely on those two performances (Whalberg, Forster), and the two actors come through.
    • 66 Metascore
    • 0 Stanley Kauffmann
    A lifeless, tedious picture... A complete dud. [29 Oct 1990, p.26]
    • The New Republic
    • 73 Metascore
    • 70 Stanley Kauffmann
    Wade, presumably with Nichols's urging and aid, has tricked up most of the picture with plotting that scuttles the realism of the beginning, strangles any serious view of the theme, and ends up ludicrously incredible. [30 Jan 1989, p.28]
    • The New Republic
    • 64 Metascore
    • 70 Stanley Kauffmann
    Like many other Iranian films, Blackboards counters the generally broadcast ideas about this part of the world. It is a testament of quiet endurance, of common concern, of reconciled survival.
    • 75 Metascore
    • 70 Stanley Kauffmann
    Beatty himself is high wattage, revved up, sharp in his comic timing, gleaming with eagerness to put his film across. As director, he carries on from where he left off in “Reds;” he is sure and fluent, and occasionally he tips his hat to the past. [June 8, 1998]
    • The New Republic
    • 70 Metascore
    • 70 Stanley Kauffmann
    The result is glib, often funny, sometimes bumpy, and ultimately depressing.
    • 77 Metascore
    • 70 Stanley Kauffmann
    Still, flaws and all, we have to be grateful to Nunez for persisting in his independence.
    • 70 Metascore
    • 50 Stanley Kauffmann
    None of the film is exciting, and, despite the preeningly smooth flow of the story, little of it is interesting.
    • 80 Metascore
    • 70 Stanley Kauffmann
    Tornatore has learned much from Fellini--especially in the long shots where someone suddenly appears close up. Let's hope he moves on to his own style. Meanwhile, he has given us a nice bask in Sicilian warmth. [Feb. 19, 1990]
    • The New Republic
    • 74 Metascore
    • 50 Stanley Kauffmann
    Lynn Redgrave is nearly incomprehensible as the housekeeper with some sort of housekeeperly accent. [Dec. 14, 1998]
    • The New Republic
    • 79 Metascore
    • 70 Stanley Kauffmann
    Nolte and Coburn are so powerful that they distort what, we are told, is the story's theme. [Feb. 1, 1999]
    • The New Republic
    • 86 Metascore
    • 100 Stanley Kauffmann
    Soderbergh is helped enormously by the interplay of his actors, whom he has cast like a master... [He makes] a film that goes past what it shows to disclose what can't be seen. It's a fine achievement. [4 Sept 1989, p.26]
    • The New Republic
    • 66 Metascore
    • 80 Stanley Kauffmann
    But conventional though the patterns are, the dialogue, in black and Latino lingo, is topically hot and is heated further by contemporary street naturalism, which in fact is less "natural" than consciously theatrical; so the familiarity of the story is disguised by the crackle of the production. [16 May 1988]
    • The New Republic
    • 78 Metascore
    • 50 Stanley Kauffmann
    Midnight Run is two films. One is a succession of bright, razor-edge, nutty dialogues between two men. The other is the plot that keeps them together, which is stale and full of boring violent-comic action. [29 Aug 1988]
    • The New Republic
    • 65 Metascore
    • 60 Stanley Kauffmann
    Eastwood has never seemed less the persona he has built through the decades, the calm yet commanding center of a storm.
    • 48 Metascore
    • 70 Stanley Kauffmann
    The screenplay, by Lowell Ganz and Babaloo Mandel, based on a French film, has enough sharp gags and plot twists to sustain it, with an ending that manages to be nice.
    • 76 Metascore
    • 80 Stanley Kauffmann
    As Blank, Cusack is both proud and remorseful. And the amazing thing is that as usual, you believe him. [Oct 10, 1997]
    • The New Republic
    • 51 Metascore
    • 70 Stanley Kauffmann
    No one is expected to believe Pretty Woman . We're just supposed to enjoy it... Pretty Woman wants only to engage us for two hours, and it does. [16 Apr 1990, p.26]
    • The New Republic
    • 71 Metascore
    • 80 Stanley Kauffmann
    Smith makes it crackle, with various aggressive honesties and wit. [May 5, 1997}
    • The New Republic
    • 76 Metascore
    • 30 Stanley Kauffmann
    For this mortal, the film converts piety into pathology and then converts it back again at the end with a Song of Bernadette conclusion. I don't know what the title means. I do know that this ridiculous film won the Grand Jury Prize at the 1996 Cannes Film Festival.[ Dec. 9, 1996]
    • The New Republic
    • 93 Metascore
    • 90 Stanley Kauffmann
    Irons, busily offset by Silver, gleefully choreographed by Schroeder, gives the picture its real bravura reason for being. [19 Nov 1990]
    • The New Republic
    • 56 Metascore
    • 90 Stanley Kauffmann
    The making of the film is so slick, the acting so exceptional, that we find ourselves trapped - caring about what happens to the three principals. [6 May 1991, p.26]
    • The New Republic
    • 92 Metascore
    • 70 Stanley Kauffmann
    There's a great deal in black America that has yet to reach the screen, and Lee is a prime candidate, in gift and gall, to help fill the gap. [July 3, 1989]
    • The New Republic
    • 66 Metascore
    • 80 Stanley Kauffmann
    Even if this film were more gripping than it is, and it grips somewhat, it would be a bit disappointing because it aims so low. Let's hope that Branagh now has the Hollywood adoration out of his system. [16 Dec 1991, p.30]
    • The New Republic
    • 91 Metascore
    • 100 Stanley Kauffmann
    Any film that provides Ian Holm with a large role is off to a good start. The Sweet Hereafter gets off to that start and keeps going. [Dec 8, 1997]
    • The New Republic
    • 79 Metascore
    • 50 Stanley Kauffmann
    To read a Carver collection is to walk through a gallery of beautifully formed objects. To blend his stories into "soup," no matter how smartly, to see them "as just one story," is to vandalize good art, to rationalize filmic opportunism as aesthetic principle. [25 Oct 1993]
    • The New Republic
    • 76 Metascore
    • 80 Stanley Kauffmann
    [Reiner] pulls everything together adroitly to make Harry Met Sally a real refreshment. It's what they call a summer picture, which means that, if it's good as this one is-it will seem summery even in winter. [21 Aug 1989, p.26]
    • The New Republic
    • 83 Metascore
    • 80 Stanley Kauffmann
    Why was this film made after the homes had already been abolished? One reason, hardly trifling, is that it was made excellently. Thematically, however, it stings -- as a reminder that Catholicism is only one religion that is dominated by males and that this domination is proprietary.

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