Newsweek's Scores

  • Movies
  • TV
For 900 reviews, this publication has graded:
  • 60% higher than the average critic
  • 3% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 6.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 69
Highest review score: 100 Barton Fink
Lowest review score: 0 Down to You
Score distribution:
  1. Negative: 67 out of 900
900 movie reviews
  1. This delightful film, with its surprising depth charges of emotion, has the feel of a movie that's going to lodge itself in the public's affections for a long time to come.
    • Newsweek
  2. This indie, a sweet, tart and smart satire about a family of losers in a world obsessed with winning, is an authentic crowd pleaser. There's been no more satisfying American comedy this year.
    • 90 Metascore
    • 90 Critic Score
    The vocal performances are a blast, Hunter's and Lee's in particular. The animation of the villain's tropical isle is stunning.
  3. The mordant, deadpan humor that streaks through Dead Man is echt Jarmusch, but it's in the service of his most mysterious and deeply felt movie, a meditation on death and transfiguration that, by the end, has thrown off the protective veil of irony. [03 Jun 1996, Pg.75]
    • Newsweek
  4. This Superman, which infuses its action with poetry, soars as a love story filled with epic yearnings, thwarted desires and breathtaking imagery.
  5. Comedy and suspense, satire and shame are all mashed together--with breezy confidence.
    • 70 Metascore
    • 90 Critic Score
    A Walk on the Moon not only effectively captures the emotional development of all its characters, but it also neatly encapsulates the tumult of the 60s.
  6. Barry Sonnenfeld's bouncy, immensely likable adaptation.
  7. Face/Off is a summer movie extraordinaire: violent, imaginative, crazily funny and, oddly moving. Hollywood has finally wised up and let Hong Kong auteur John Woo strut his stuff in all its undiluted, over-the-top glory.
  8. This is the most personal, deeply felt film from the gifted director of "Under the Sand" and "Swimming Pool." Ozon leaches his melodrama of all sentimentality, and moves us all the more.
  9. There hasn't been a studio movie as unapologetically adult, sophisticated, and nuanced as Up in the Air in some time.
  10. The true allure of Titanic is its invitation to swoon at a scale of epic moviemaking that is all but obsolete.
  11. Exuberantly theatrical yet every inch a movie, and some numbers ("The Cell Block Tango") are so entertaining you might want to applaud.
  12. Noyce uses his Hollywood craft to unfold this primal, powerful story, he has an epic feel for the harshly beautiful Australian landscape and he gets wonderfully natural performances from the three girls. His bold, lyrical images stay in your head, like an unaccountably beautiful nightmare.
    • Newsweek
    • 81 Metascore
    • 90 Critic Score
    A surprisingly tender, even heartbreaking, film. Like the original, it's a tragic tale of beauty and the beast.
  13. Blackly funny, unafraid to shift emotional gears from farce to horror, peppered with spectacular action.
  14. Reveals a chilling reality: how hard it is to tell a simple truth when big business doesn't want it told.
  15. A tad dark for little kids, this one-of-a-kind movie delivers 80 minutes of idiosyncratic inspiration.
  16. Deep Blue Sea gives good rush -- earning its stripes as one terrific junk movie.
  17. There’s not a whisper of melodrama or sentimentality in the way Moretti tells his tale, guiding us through the stages of grief with calm, devastating lucidity.
    • Newsweek
  18. Ferociously intense, furiously kinetic, it’s expressionist film noir science fiction that, like all good sci-fi, peers into the future to shed light on the present.
    • Newsweek
  19. If the film has a problem, it's a kind of excess of goodness at the expense of imaginative excitement. The real hero is the psychiatrist, played with a riffing Jewish beat by Hirsch as a counterpoint to the tight Wasp rhythms of Conrad's family. There's a feeling of therapy more than revelation, but perhaps for our multifariously sick society therapy has become revelation. This seems to have been a major point in Guest's novel, and Redford has dramatized it with integrity, honor and compassion. [22 Sept 1980, p.76]
    • Newsweek
  20. The movie is, from start to finish, a hoot... Both a savvy satire of smalltown boosterism and an affectionate salute to the performing spirit. [10 Feb 1987, p.66]
    • Newsweek
  21. This is humanism in drag: Almodovar's passionate redefinition of family values.
    • Newsweek
    • 55 Metascore
    • 90 Critic Score
    Mimic is undoubtedly the best mutant-cockroach horror thriller ever made. Even granting that there hasn't been much competition, this is intended as a high compliment.
  22. A delightful surprise... Jewison does his best work in decades. [21 Dec 1987]
    • Newsweek
  23. Few films have shown so powerfully the slashing double edge of sports fever.
  24. Loach hurls us into the fracas, circa 1920, and creates such a vivid sense of the nuts and bolts of guerilla war you almost forget you are watching a period piece. Unlike the epic sweep of Neil Jordan's "Billy Collins," which spoke in a syntax closer to Hollywood's, "The Wind" doesn't paint over its political arguments with a patina of nostalgia.
  25. It has the stately, well-crafted anxiety of a Hitchcock movie, except that the protagonist and antagonist are one and the same.
    • Newsweek
  26. A demonstration of bravura acting.
    • Newsweek
  27. All this is good fun -- some of which is anticipating the pained reaction from conservative Hollywood-hasslers. Director Rob Reiner has a fine smooth touch, Douglas is charismatic, Bening is scrumptious -- you want to put all these dream politicos in a doggy bag and take them home. [20 Nov 1995, p.28]
  28. Succeeds stunningly on its own terms.
  29. Eastwood tells his haunting, sorrowful saga with such a sure, steady hand, only a very hardened cynic could fail to be moved.
  30. Zaillian's meaty movie, at once bleak and hopeful, speaks volumes about the maddening distance between justice and the justice system.
  31. One of the year's best: a rich, funny, enormously humane portrait of a middle-class Taipei family in the throes of romantic, economic and spiritual upheaval.
    • 71 Metascore
    • 90 Critic Score
    A surpassingly sweet, funny and picturesque movie.
  32. Never less than engaging; all that’s missing is a proper crescendo. The picture moves along briskly, even at two and a half hours, but it seems to be running on cruise control.
    • 71 Metascore
    • 90 Critic Score
    It's the characterization of Mulan, both in voice and visuals, that makes the film a keeper.
  33. What keeps you in your seat is the acting. Keener, crisply and coolly playing against type, commands the screen. [24 August 1998, p. 58]
    • Newsweek
  34. Luhrmann has raised the level of his game, deconstructing the Hollywood musical -- a genre all but left for dead -- and reassembling it with a potency that hasn’t been seen since “Cabaret.”
    • Newsweek
    • 76 Metascore
    • 90 Critic Score
    Takes the prize. It's a bloody hoot.
  35. Crazy Heart gets to you like a good country song--not because it tells you something new, but because it tells it well. It's the singer, not the song.
  36. Their (Murray/Johansson) brief, wondrous encounter is the soul of this subtle, funny, melancholy film.
  37. In every detail - the superb soundtrack, the rich cinematography, the dinstinctively edgy editing - Rain Man reveals itself as a movie made with care, smarts, and a refreshing refusal to settle for the unexpected. [19 Dec 1988]
    • Newsweek
  38. Junky, freaky, sadistic, masochistic, Mad Max has a perverse intelligence revving inside its pop exterior. It's a crazy collide-o-scope, a gear-stripping vision of human destiny careening toward a cosmic junkyard. [21 July 1980, p.71]
    • Newsweek
  39. A terrific piece of work: smart, inventive and executed with state-of-the-art finesse.
    • Newsweek
  40. Vertical Ray slows our rhythms and heightens our senses: it's a shimmering, tactile experience.
  41. Marvin's taciturn performance--a moving demonstration of masculine grace under pressure--may be his finest.
  42. As a "Revenge of the Nerds" redux, Superbad isn't perfect. But it's super close.
  43. The eroticism in Cuaron’s road movie (which broke all box-office records in Mexico) is the real deal: tactile, sexy, psychologically charged.
    • Newsweek
  44. Puiu's is the art of the seemingly artless: he takes a story that's utterly unglamorous and mundane, and transforms it into something mythic.
  45. The superbly acted Spider is muted in comparison: it’s a quiet nightmare, painted in hospital greens and rust browns.
  46. Brutal and precision-made, Thief is a high-tech crime movie that closes in on its subject with such relentless purpose that it approaches abstraction. Nothing enters Mann's frame that is not designed to be there: the expertise he honors in his criminal hero is mirrored by his own meticulous craftsmanship. He gets the job done--and blows you away while doing it. [30 Mar 1981, p.82]
    • Newsweek
  47. It happens to be one of the most wildly (and disturbingly) inventive animated films I've seen.
  48. Indoors, it's Jane Austen. Outdoors, this red-blooded, exuberantly romantic version of Pride and Prejudice plays more like Emily Brontë. Purists may object, but most will find this love story irresistible.
  49. Scherfig and her wonderful cast slyly transmute the quotidian into the magical. It’s like watching flowers bloom in a concrete garden.
    • Newsweek
    • 73 Metascore
    • 90 Critic Score
    Brilliantly strange, often funny and ultimately heartbreaking film.
  50. This shamefully underpromoted, gloriously silly romp made me laugh harder than any other movie this summer. Make that this year.
  51. This is a one-of-a-kind action flick: a tale of triumph tinged at every moment with tragedy.
  52. A wicked delight. Adapted by playwright Patrick Marber from Zoe Heller's acclaimed novel, it's at once a comedy of cluelessness and class, a melodrama of two women in the grips of wildly inappropriate obsessions, and a "Fatal Attraction"-style thriller.
    • 72 Metascore
    • 90 Critic Score
    Splendiferous.
    • 46 Metascore
    • 90 Critic Score
    Dr. Dolittle is a zoo-and a blast. [6 July 1998, p. 67]
  53. Filled with delicious backstage drama, and superb actors reveling in the opportunity to play their 19th-century counterparts.
    • 64 Metascore
    • 90 Critic Score
    For diehard fans, X-Men is full of in jokes and sly references -- For everybody else, there's the thrill of the unknown.
  54. A heartbreaking comedy that is simultaneously funny and sad, raunchy and sweet, funky and elegiac. These fresh, unexpected juxtapositions are a specialty of the writer Hanif Kureishi ("My Beautiful Laundrette"), a sworn enemy of cliché.
  55. I expected to laugh; I didn't expect to be moved.
  56. Writer-director Ray has a no-fuss style that is quietly, thoroughly gripping.
  57. Moore’s stunning, subtle performance as a woman trapped in the conventions of her time encapsulates the film’s brave, double-edged beauty.
    • Newsweek
    • 77 Metascore
    • 90 Critic Score
    With her Doc Martens and her spiky, fire-engine hair, Franka Potente makes a perfect Lola. Like the film itself, her tough, flashy exterior cloaks a warm emotional center.
  58. Jacquet's movie is as visually ravishing as "Winged Migration," and more gripping.
  59. The beauty of Welcome to the Dollhouse is its pokerfaced objectivity, which neither condescends to its pubescent victim nor romantically inflates her plight.
    • 91 Metascore
    • 90 Critic Score
    Marvelous, and surprisingly intimate.
  60. Most of the time, Demme's deliberately unstable mixture of moods and genres produces electric results. Rachel Getting Married takes a familiar subject--the raw nerves of American family life with--and draws fresh blood.
  61. Press and Blunt are major discoveries: in this sly and wonderfully atmospheric gem, they conjure up the role-playing raptures of youth with perfect poetic pitch.
  62. You have to pay close attention to follow the double-crossing intricacies of the plot, but the reward for your work is dark and dirty fun.
  63. A welcome paradox--an intelligent, rousing adventure for grown-up kids. [17 Apr 1995, p.66]
    • Newsweek
  64. A pretty damn good summer movie.
    • 79 Metascore
    • 90 Critic Score
    The result is a film of rare restraint and surprising power.
    • 69 Metascore
    • 90 Critic Score
    Hilarious, affectionate spoof.
    • Newsweek
  65. Gripping from start to finish.
    • 86 Metascore
    • 90 Critic Score
    A marvelous comedy from deep in left field -- immaculately written, unexpectedly touching and pure of heart.
  66. Peirce's taut, sure-footed first film sidesteps sensationalism without sacrificing any of the story's wonder and horror
  67. A smart and wicked delight.
    • 83 Metascore
    • 90 Critic Score
    An extraordinary documentary.
  68. Funny, bittersweet, its understatement yielding surprising depth charges, Broken Flowers is a triumph of close observation and telling details.
  69. It starts quietly, introducing its splendid gallery of fowl, rats and humans, then builds and builds until it achieves full comic liftoff.
    • Newsweek
    • 80 Metascore
    • 90 Critic Score
    A beautifully told story of a child's innocence and faith, filmed with exquisite detail and stunning cinematography
    • Newsweek
  70. The result is fascinating -- a rich, strange, problematical movie full of wild tonal shifts and bravura moviemaking.
  71. Lyrical, original, misshapen and deeply felt, this is one flawed beauty of a movie.
  72. There are few movies around that take such huge risks: this is high-wire filmmaking, without a net of irony.
  73. Has an almost perfect-pitch grasp of those messy, idealistic, vibrant times, when everyone was trying to reinvent himself from the ground up.
  74. What blasts off the screen like a heat wave, burning in the heart, is the sheer toe-tapping, booty-shaking joy of making music.
  75. An epic both raw and contemplative, is neither a flag-waving war movie nor a debunking.
    • 88 Metascore
    • 90 Critic Score
    In the hearts of losers, Zwigoff’s found a real winner.
  76. Cameron's achievement isn't only technical. He's using all the not-so-cheap thrills of a violent genre to make a movie with an antiviolence message, and the wonder of T2 is that he pulls it off without looking silly.
  77. A painfully funny movie. There’s nothing in the history of movie courtship quite like the first meeting between Pekar and his future wife and fellow depressive, Joyce Brabner.
    • 64 Metascore
    • 90 Critic Score
    This film has everything for the all-important female audience: feisty heroines, lots of slapstick, great clothes.
  78. Sarandon and Davis give superb, wonderfully interactive performances: funky, fierce, funny and poignant. [27 May 1991]
    • Newsweek
  79. As writer and actress, Thompson has all the right Austen rhythms and filmmaker Ang Lee ("Eat Drink Man Woman") orchestrates with sensitivity and style.
  80. Every character--not just the kids, but the teachers as well--comes alive with a complexity worthy of Jean Renoir. The lyricism of Wild Reeds doesn't cast a smoke screen of nostalgia, it brings us closer to the experience of adolescence.

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