The New Republic - Rotten Tomatoes

The New Republic

All reviews published on The New Republic always count toward the Tomatometer score because it is a Tomato-approved publication.
Rating
Title/Year
Author
1
A farce-comedy, it must thrive, if it's to do so, on sparkle. But the bubbles are sparse, partly because of Roberts's low fizz level.
Posted Jan 1, 2000
2
Lawrence luxuriates in the tremendous.
Posted Jan 1, 2000
3
Jackie Brown (1997)
The flat, self-exposing dud that fate often keeps in store for the initially overpraised.
Posted Jan 1, 2000
4
A sinuous trip through a series of bumps and surprises that is never tedious.
Posted Jan 1, 2000
5
Kiss or Kill (1997)
Bennett's screenplay is consistent, completely concerned with the haphazard and the jogging of conventional expectation.
Posted Jan 1, 2000
6
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.
Posted Jan 1, 2000
7
After Sex (1997)
Rouan's writing, as far as can be judged from subtitles, is pointed and vital. Her performance is superb.
Posted Jan 1, 2000
8
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.
Posted Jan 1, 2000
9
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.
Posted Jan 1, 2000
10
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.
Posted Jan 1, 2000
11
The picture is cloudy in intent.
Posted Jan 1, 2000
12
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.
Posted Jan 1, 2000
13
Sling Blade (1996)
[Thornton] performance is so good that his directing may be slighted.
Posted Jan 1, 2000
14
[Rose's] screenplay is a ragbag, nothing like a tragedy in which the nemesis is Time. And his casting!
Posted Jan 1, 2000
15
Outbreak (1995)
Hoffman doesn't get the chance, or need, to act: he just does things, like Ford.
Posted Jan 1, 2000
16
[A] pleasant romantic drama.
Posted Jan 1, 2000
17
Completely absorbing, almost rudely poignant.
Posted Jan 1, 2000
18
A few patches are subtitled, but the general effect is of watching an opera without having read the libretto.
Posted Jan 1, 2000
19
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.
Posted Jan 1, 2000
20
I can't convey the essence of the plot because I wasn't clear about it even as it was happening.
Posted Jan 1, 2000
21
He Got Game (1998)
Lee is a long way from the size and scope of his best film, Do the Right Thing, but at least he is working on a subject he cares about and is doing it with polish.
Posted Jan 1, 2000
22
As the film's design becomes clear to us, a quiet spaciousness begins to inhabit it.
Posted Jan 1, 2000
23
Hamlet (1996)
Branagh confirms what was known from the opening shot of Henry V: he has fine cinematic skills.
Posted Jan 1, 2000
24
The Rock (1996)
When film more or less took over melodrama from the theater ninety years ago, it proudly provided real oceans instead of canvas waves rippled by stagehands; but the plots remained humbug ... The Rock is as ridiculous an example as one could want.
Posted Jan 1, 2000
25
Analyze This (1999)
It ends up a one-joke picture, with feeble variations.
Posted Jan 1, 2000
26
Despite all that Rosi and Turturro can do, the Levi we look at and listen to is not near the Levi we know.
Posted Jan 1, 2000
27
The three ... especially Fox--do well.
Posted Jan 1, 2000
28
Over and over again in Austen, [Lee's] framing, his course of action, his editing suited and amplified the essence of the scene. But here everything in his directing, absolutely everything, is banal.
Posted Jan 1, 2000
29
The film is painful in at least one way - its waste of good actors.
Posted Jan 1, 2000
30
Fargo (1996)
31
Gabbeh (1997)
There is hardly a composition in the film that couldn't be extracted and framed.
Posted Jan 1, 2000
32
It keeps striking home ferociously.
Posted Jan 1, 2000
33
Chasing Amy (1997)
Smith makes it crackle, with various aggressive honesties and wit.
Posted Jan 1, 2000
34
The sly joke of Forgotten Silver really registers.
Posted Jan 1, 2000
35
Lynch has made a small epic that echoes and enlarges in memory.
Posted Jan 1, 2000
36
Like an old-fashioned theater program, it tells you early on who and what each of its characters is -- and so they prove to be, enjoyably.
Posted Jan 1, 2000
37
The film adds little to previous factual knowledge, but it deepens our connections with the story through the power of film itself.
Posted Jan 1, 2000
38
Nicholson struggles for the core of the man but never gets it; so, in most scenes, he resorts to working his face, with grimaces and sneering smiles and lip-pursings in place of acting.
Posted Jan 1, 2000
39
40
Steven Rosenblum's editing is excellent, smoothly uniting present and past, articulating individual scenes alertly.
Posted Jan 1, 2000
41
For those who, like myself, were disappointed in the play, the film contains pleasant surprises, all of them resulting from differences between the two arts.
Posted Jan 1, 2000
42
43
It's a struggle for Bacon -- and I'm not doubting the facts of the matter -- because the part is so clearly designed to knock us out; but Bacon is honest, in touch with Young's sources or lack of them.
Posted Jan 1, 2000
44
It's a flurry of pressure-cooker baroque, an extreme example of the exhibitionistic hijinks in which Welles could sometimes indulge, apparently intensified here because he wasn't doing what he really wanted to be doing.
Posted Jan 1, 2000
45
46
After a while, besides enjoying the stories as such, we begin to enjoy the film's trickiness, almost all on the phone, as a sort of high-wire act.
Posted Jan 1, 2000
47
The Siege (1998)
Just about distinguishable from several dozen predecessors in the same apocalyptic vein.
Posted Jan 1, 2000
48
Yet familiar as the pattern is ... the film holds because of the acting and because it functions as travelogue.
Posted Jan 1, 2000
49
Benigni certainly knew the risk he was taking with his idea, but the circumstances overwhelm him.
Posted Jan 1, 2000
50
Funny Games (1998)
The basic puzzle is why this sophisticated director chose this tired formula.
Posted Jan 1, 2000