|
40%
|
The Fan (1996)
|
|
Stanley Kauffmann
|
|
82%
|
Kiss or Kill (1997)
|
"Bennett's screenplay is consistent, completely concerned with the haphazard and the jogging of conventional expectation."
|
Stanley Kauffmann
|
|
60%
|
The Edge (1997)
|
|
Stanley Kauffmann
|
|
29%
|
Up Close & Personal (1996)
|
|
Stanley Kauffmann
|
|
44%
|
Multiplicity (1996)
|
"Multiplicity exists because it's now possible for an actor to appear on screen with himself and not by means of anything so quaint as double exposure."
|
Stanley Kauffmann
|
|
88%
|
When the Cat's Away (Chacun cherche son chat) (1996)
|
|
Stanley Kauffmann
|
|
65%
|
The Designated Mourner (1997)
|
|
Stanley Kauffmann
|
|
47%
|
Romance (1999)
|
|
Stanley Kauffmann
|
|
100%
|
Marcello Mastroianni: I Remember (1997)
|
|
Stanley Kauffmann
|
|
94%
|
West Beyrouth (West Beirut) (1999)
|
|
Stanley Kauffmann
|
|
77%
|
I Shot Andy Warhol (1996)
|
|
Stanley Kauffmann
|
|
78%
|
After Sex (1997)
|
"Rouan's writing, as far as can be judged from subtitles, is pointed and vital. Her performance is superb."
|
Stanley Kauffmann
|
|
76%
|
Lock, Stock and Two Smoking Barrels (1999)
|
"The cast is revved up to sizzle, with Sting in a smallish role, and the thick cockney dialogue is more comprehensible than you might think."
|
Stanley Kauffmann
|
|
86%
|
Trekkies (1999)
|
|
Stanley Kauffmann
|
|
63%
|
Windhorse (1999)
|
|
Stanley Kauffmann
|
|
44%
|
Holy Smoke! (2000)
|
"The screenplay sometimes slashes with sharp dialogue, and Campion's directing unmistakably breathes conviction. What she lacks is sufficient humor to see when she approaches the risible and sufficient perception to keep her seriousness fresh."
|
Stanley Kauffmann
|
|
97%
|
Le Notti di Cabiria (Nights of Cabiria) (1957)
|
"It's fascinating. Part of the fascination is in seeing how much of it is intrinsic, untarnished gold; and, as with most earlier works of masters, part of it now is in seeing the hints of the Fellini to come."
|
Stanley Kauffmann
|
|
93%
|
Dead Man Walking (1995)
|
"The picture is cloudy in intent."
|
Stanley Kauffmann
|
|
84%
|
Cold Comfort Farm (1996)
|
|
Stanley Kauffmann
|
|
88%
|
American Beauty (1999)
|
"It never justifies the blatancy of its opening, and it never does anything to freshen what is only one more journey through familiar fortyish unfulfillment."
|
Stanley Kauffmann
|
|
96%
|
Sling Blade (1996)
|
"[Thornton] performance is so good that his directing may be slighted."
|
Stanley Kauffmann
|
|
71%
|
Mécaniques célestes (Celestial Clockwork) (2007)
|
|
Stanley Kauffmann
|
|
26%
|
Anna Karenina (1997)
|
"[Rose's] screenplay is a ragbag, nothing like a tragedy in which the nemesis is Time. And his casting!"
|
Stanley Kauffmann
|
|
59%
|
Outbreak (1995)
|
"Hoffman doesn't get the chance, or need, to act: he just does things, like Ford."
|
Stanley Kauffmann
|
|
96%
|
Gods and Monsters (1998)
|
|
Stanley Kauffmann
|
|
88%
|
The Thief (Vor) (Вор) (1997)
|
"[A] pleasant romantic drama."
|
Stanley Kauffmann
|
|
93%
|
La Vie Rêvée des Anges (The Dreamlife of Angels)(The Daydreams of Angels) (1998)
|
"Completely absorbing, almost rudely poignant."
|
Stanley Kauffmann
|
|
43%
|
Window To Paris (Okno v Parizh) (1994)
|
|
Stanley Kauffmann
|
|
——
|
Capitaine Conan (Captain Conan) (1997)
|
|
Stanley Kauffmann
|
|
100%
|
From the Journals of Jean Seberg (1996)
|
|
Stanley Kauffmann
|
|
71%
|
Passion in the Desert (1997)
|
|
Stanley Kauffmann
|
|
77%
|
Your Friends & Neighbors (1998)
|
|
Stanley Kauffmann
|
|
80%
|
Private Parts (1997)
|
|
Stanley Kauffmann
|
|
95%
|
Crumb (1995)
|
|
Stanley Kauffmann
|
|
74%
|
Lucie Aubrac (1999)
|
|
Stanley Kauffmann
|
|
80%
|
Flirt (1996)
|
|
Stanley Kauffmann
|
|
71%
|
Dead Man (1995)
|
|
Stanley Kauffmann
|
|
60%
|
Hurlyburly (1998)
|
|
Stanley Kauffmann
|
|
65%
|
Nil by Mouth (1998)
|
|
Stanley Kauffmann
|
|
89%
|
Trainspotting (1996)
|
"A few patches are subtitled, but the general effect is of watching an opera without having read the libretto."
|
Stanley Kauffmann
|
|
80%
|
The White Balloon (Badkonake sefid) (1995)
|
"Panahi has much the same kind of talent, a concern to make his film a kind of home for its characters, but he has not yet found [Kiarostami's] secret, how to find and hold the still point of the turning world."
|
Stanley Kauffmann
|
|
36%
|
Michael (1996)
|
|
Stanley Kauffmann
|
|
59%
|
Blast from the Past (1999)
|
|
Stanley Kauffmann
|
|
41%
|
The Peacemaker (1997)
|
|
Stanley Kauffmann
|
|
56%
|
Mumford (1999)
|
|
Stanley Kauffmann
|
|
94%
|
Secrets & Lies (1996)
|
|
Stanley Kauffmann
|
|
96%
|
Paradise Lost - The Child Murders at Robin Hood Hills (1996)
|
|
Stanley Kauffmann
|
|
29%
|
Last Dance (1996)
|
|
Stanley Kauffmann
|
|
53%
|
Nell (1994)
|
|
Stanley Kauffmann
|
|
45%
|
Mickey Blue Eyes (1999)
|
|
Stanley Kauffmann
|
78%
50%
100%
85%
45%
40%
