The New Republic's Scores

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For 489 reviews, this publication has graded:
  • 39% higher than the average critic
  • 2% same as the average critic
  • 59% lower than the average critic
On average, this publication grades 0.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Eternal Sunshine of the Spotless Mind
Lowest review score: 0 Hulk
Score distribution:
  1. Positive: 285 out of 489
  2. Mixed: 159 out of 489
  3. Negative: 45 out of 489
489 movie reviews
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  1. Lilya 4-Ever
    It is Akinshina's presence and performance that make the pedestrian story heart-wrenching. She is pretty, responsive, reflective. Without the slightest strain, she convinces us of the beauty and pathos and hope within Lilya.
  2. People I Know
    The very considerable impact of the picture is mainly the work of two men, the author and the star.
  3. Sylvia
    Christine Jeffs has directed it with discretion and intimacy, almost a paradoxical privacy.
  4. I Shot Andy Warhol
    It's dazzling and serious, with flurries of impulse playing around a persistent core of madness. [6 May 1996, p. 24]
    • The New Republic
  5. Dead Poets Society
    Nothing about this film sounds, as described, novel. Yet it grips, because it has been made with plentiful feeling and vigor. [June 26, 1989]
    • The New Republic
  6. To Be and to Have
    "You'll have to be patient." Philibert said, "That's the point." This is the film's success: its patience, which in a way mirrors the teacher's.
  7. Son frère
    Son Frère is a real achievement, delicate, perceptive, somewhat muted but nonetheless strong.
  8. The Lives of Others
    Despite the fact that parts of this film remind us of past pictures with comparable themes, the director and his actors make it immediate, gripping.
    • 98 Metascore
    • 90 Critic Score
    All About Eve
    What makes the picture seem so good (what makes it eminently worth seeing) is the satirical touches in its detail and the performance of Bette Davis.
  10. Stage Beauty
    Crudup is whole. He creates the man who has pride in what he does, who is suddenly stripped of the work and the pride; and who makes his way, somewhat painfully, to another sort of pride. His story is a small but acute poignancy in the history of the theater, and Crudup realizes it completely.
  11. Taste of Cherry
    Like much that he has done, Abbas Kiarostami's Taste of Cherry (Zeitgeist) is so simple that initially it's difficult. [13 Apr 1998]
    • The New Republic
  12. Safe Conduct
    The cast could not -- one could almost say need not -- be improved.
  13. 3-Iron
    The insinuating quality of 3-Iron is irresistible.
  14. Friday Night
    Denis and her editor, Nelly Quettier, have assumed that they do not have to show the details of sex because we know them already. Instead, Denis and Quettier create a small visual poem on the subject.
    • 86 Metascore
    • 90 Critic Score
    Bonnie and Clyde
    If the movie is better than anything Hollywood has done for a good while, it is still a compromise that barely misses being a self-destruction. Its failures, however, aren't due to any infidelity to history or to the American underlife, but to an incomplete loyalty to its own arresting propositions.
  16. La Femme Nikita
    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
  17. Washington Heights
    Washington Heights, under De Villa's guidance, bubbles. Once more, as in comparable films, it creates a foreign nexus in a domestic setting -- a group of people who live in two cultures.
  18. Man on the Train
    The essence of the film is that French gambit which Leconte has called "the magic of the unlikely encounter.
  19. The Wind That Shakes the Barley
    Loach's cast fits perfectly, and his directing has his usual extra tang of commitment. He provides almost a sensory response to his material: we seem to feel the textures and scent the air.
  20. Moolaadé
    Sembène's love of his people and his commitment to the richness that underlies the poverty of their condition have always made his films gems of truth, as they do once again here.
  21. In the Company of Men
    An unusually fine screenplay, then, yet LaBute's accomplishment goes further. He has envisioned a cinematic style for his film that harmonizes exactly with its theme and mood. [Sept 1, 1997]
    • The New Republic
  22. The Last Days
    The five stories are deftly interwoven by Moll, along with archival footage that puts these stories in contexts of time. [08 Mar 1999]
    • The New Republic
  23. Raising Victor Vargas
    This is Sollett's first feature film -- he has previously made only one short -- and it shows, more than exceptional talent for cinema itself, his ability to evoke character, in a kind of sidewise offhand way, and to create a sense of community both within and around the film.
  24. Nine Lives
    García wanted to paint a canvas of nine elements, rather than one large element; and, though only a few of the vignettes are related, the film leaves us with a sense of wholeness, not of stunt.
  25. Monster
    It is Theron who transmutes and sustains this journey through the lower depths.
    • 88 Metascore
    • 90 Critic Score
    The Bridge on the River Kwai
    Despite the thinness of the final gesture, The Bridge remains an engrossing and stirring movie. Amazingly, it allows an American to feel patriotic about the British, and that is because it is not, thank God, patriotic about patriotism. Rather it represents the limitations of moral and national passion is well as its glories, and consequently makes patriotism, courage, and pride human possibilities.
  27. Spider
    Spider is not a pulse-quickening experience, but Fiennes's art makes it engrossing.
  28. Me and You and Everyone We Know
    It seems quite possible that Me and You marks the arrival of an artist who may affect--disturbingly yet helpfully--films and audiences to come.
  29. 8½
    I don't think that 8 1/2 "says" very much, but it is breathtaking to watch. One doesn't come away from it as from, say, the best Bergman or Renoir-with a continuing, immanent experience; one has to think back to it and remember the effect. But that is easy, for the experience is unforgettable.
  30. Army of Shadows
    One particular bit of luck for this reissue is the fact that Melville's cinematographer, Pierre Lhomme, was on hand to help with the restoration of this thirty-five-year-old film. The result is a paradoxical beauty. Very many of the scenes are in sunlight--Melville avoided such facile stuff as shadows for suspense--yet they are chilly. The seasons vary, but the general effect is of a bright winter day that is freezing.
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