Newsweek's Scores

  • Movies
For 895 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 6.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Touching the Void
Lowest review score: 0 Meet Joe Black
Score distribution:
  1. Negative: 67 out of 895
895 movie reviews
    • 55 Metascore
    • 40 Critic Score
    There are no ideas, just repartee. Snoop Dogg, as a superfly snitch, and Vince Vaughn, as a drug lord, are wasted in obvious supporting roles. It's harmless fun--and too lazy to be more.
    • 61 Metascore
    • 40 Critic Score
    An over-the-top thriller, too loosely tethered to reality to be a lesson about anything other than the limits of popcorn consumption.
  1. Von Trier, however, undercuts the universality of his own message with his meretricious closing credits, set to David Bowie's "Young Americans," which explicitly turns Dogville into an anti-American screed.
    • 44 Metascore
    • 40 Critic Score
    A noble but supernaturally dull movie.
    • 46 Metascore
    • 40 Critic Score
    Unfortunately, none of this is very much fun. The cinematography is dark and depressing. The dialogue is stilted. And for some reason, director Antoine Fuqua has even ditched the Arthur/Guinevere/ Lancelot love triangle.
  2. The entire solemn, portentous edifice that is The Village collapses of its own fake weight. Just about everything that makes Shyamalan special misfires here.
  3. A paint-by-numbers old-fashioned romantic epic, Head in the Clouds is neither romantic nor epic, but it does succeed at old-fashioned.
  4. It's poppycock, but well directed: Ruben delivers two or three guaranteed jolts, which almost make up for the copout of an ending.
  5. Maybe you have to be 14 to find all of this terribly clever.
    • Newsweek
    • 34 Metascore
    • 40 Critic Score
    Midler's performance does not stand out. She remains very much Bette Midler.
  6. Onstage, trapped in the mini-wasteland of the parking lot, the creeped-out kids crackled like lightning in a bottle. Linklater's meager attempts to open up the movie drain its energy.
  7. We've seen it all before and such familiarity kills impact.
    • 54 Metascore
    • 40 Critic Score
    Kill is a disappointing movie: slow, overpopulated and muddled in its thinking.
    • 66 Metascore
    • 40 Critic Score
    Ultimately, this is a war of boorishness vs. sensitivity, and the filmmakers waffle.
  8. But Die Hard WAV lacks the freshness of its two predecessors: we've had it with gassy police psychiatrists and supersmart terrorists.
    • 54 Metascore
    • 40 Critic Score
    Trying too hard to grab our attention, he (Marshall) loses it. The art of the geisha prizes subtlety, stillness, grace. Why doesn't this movie?
    • 62 Metascore
    • 40 Critic Score
    The movie plays like a clumsy assault on post-9/11 paranoia. It references "America's war," uses imagery direct from Abu Ghraib and contains dialogue likely to offend anyone who's not, say, a suicide bomber.
  9. This stiff-in-the-joints movie has little feel for its setting or period, and crucial chunks seem to have been left on the cutting-room floor. Robert Rossen's Oscar-winning 1949 version has nothing to fear.
  10. There's an inspirational, hang-on-to-your-dreams message, but it comes only at the very end of a long, grim, painful journey. Holiday cheer is not what this movie is offering.
  11. The most interesting thing about Beowulf, alas, is its technology. It's the work of a man who has fallen in love with his toys, but I miss the wicked satirist who made "Used Cars." And the truth is the motion capture in Beowulf comes across as an unsatisfying compromise between animation and live action.
  12. if you're trying to make us believe we're watching "reality" by using a faux documentary style, you need actors who never look like they are acting, and this is where Redacted stumbles.
  13. In this distressingly generic spy spoof, it's not Maxwell who's clueless, but the filmmakers.
    • 56 Metascore
    • 40 Critic Score
    Speaking as an admirer, but not an apostle, of the graphic novel, I thought the Watchmen movie was confusing, maddeningly inconsistent and fighting a long, losing battle to establish an identity of its own.
    • 55 Metascore
    • 40 Critic Score
    It's a little late to be spoofing Westerns, and most of the high-noonery in BTTF III falls flat. [4 June 1990, p.82]
    • Newsweek
  14. The Wrath of Khan is a small soap opera about a man coming to terms with age and death and a son he had never acknowledged. It's really "On Golden Galaxy," and it would have made a lot more sense as a modestly produced hour of television. [7 June 1982, p.53]
    • Newsweek
  15. Spielberg doesn't differentiate between the good ideas in the script and the bad ones: everything is given an emphatic, production-number treatment... His ultraslick, seductive technique can be a pleasure to watch in itself, but it can't disguise the fact that "Always" is a decidedly uneternal fantasy. [1 Jan. 1990, p.60]
    • Newsweek
  16. A good half hour too long, and badly in need of some scares, Hook is a huge party cake of a movie, with too much frosting. After the first delicious bite, sugar shock sets in.
  17. Howard's fifth movie is a keen disappointment. Clever moments and bittersweet touches aside, it leaves you wishing a modern-day Preston Sturges had written the script. [17 Mar 1986, p.82]
    • Newsweek
  18. Everything in Rounders is right there on the surface. Watching it is about as exciting as playing poker with all the cards face up. [14 Sept 1998]
    • Newsweek
  19. So bland and un-lived in you want to pour Tabasco all over the screen.
    • 36 Metascore
    • 30 Critic Score
    Rapidly veers towards tired 80's territory rather than offering anything new and fresh.
    • 32 Metascore
    • 30 Critic Score
    A half-hearted comedy whose jokes are far from a knockout.
  20. Bad, but not criminally so.
  21. This is a farfetched premise, and the movie pays a price for it.
    • Newsweek
  22. All shots and no scenes, which is nice for a picture book but deadly for drama.
    • 43 Metascore
    • 30 Critic Score
    Despite some funny lines and situations, this comedy falls short.
  23. A lumbering, self-important three-hour melodrama that defies credibility at every turn.
    • Newsweek
  24. Every role is miscast. Whose idea was it to have the boyishly British Bale play an illiterate Greek peasant, or the elegant Hurt a gruff-voiced country doctor? Cruz’s run of bad luck in American movies continues.
  25. This echo of the WWII internment of Japanese-Americans is the only new gimmick in Edward Zwick's entry in the cliche- terrorist genre.
    • 52 Metascore
    • 30 Critic Score
    Neil LaBute’s Possession is bad, but not spectacularly bad, which is disappointing.
    • Newsweek
  26. Flat, distressingly witless -- To put it bluntly -- the thrill is gone. Nobody did it better. But that was then.
    • Newsweek
  27. Cameron Diaz, Christina Applegate and Selma Blair are asked to humiliate themselves many times over in The Sweetest Thing, and they do it with such game good spirits that they ought to get the actor’s equivalent of a Purple Heart.
    • Newsweek
  28. You know a romantic comedy is in trouble when you root for the hero not to get the girl.
    • Newsweek
  29. As adroit and charming as Witherspoon is--and she gives it her all--she cannot rise above the embarrassingly broad, witless material.
  30. Irreversible takes an adolescent pride in its own ugliness. “I Stand Alone" told me something about the world; this one tells me more than I want to know about the calculating mind of its maker.
  31. Sarah Thorp’s lazy script lurches from the lame to the ludicrous.
    • 65 Metascore
    • 30 Critic Score
    It's punishingly dull for fully half of its two hours and 45 minutes.
    • 51 Metascore
    • 30 Critic Score
    An empty videogame of a movie about interplanetary pest control.
    • 35 Metascore
    • 30 Critic Score
    With the talent involved in Sphere -- director Barry Levinson, novelist Michael Crichton and actors Dustin Hoffman, Samuel L. Jackson and Sharon Stone--how could it fail? Somehow, it does.
  32. Screenwriter Akiva Goldsman has written quips, not characters and Joel Schumacher still seems miscast as a Bat-action director: he stages the mayhem confusingly and the comedy too broadly.
  33. Downright repetitive! [30 May 1983]
    • Newsweek
    • 68 Metascore
    • 30 Critic Score
    The film suffers dearly because of the two underwritten, emotionally unavailable characters at the film's center and when all is revealed at an amateur dance contest, the music — and the modicum of tension the movie has created — dies.
    • 42 Metascore
    • 30 Critic Score
    It's just a standard, mediocre horror flick that wants to be taken seriously. The creators missed the point entirely: even teenagers know that there's no audience for this type of film anymore.
  34. The special effects are definitely the best thing about this curiously bland disasterthon.
    • 37 Metascore
    • 30 Critic Score
    If only the movie itself had so much spunk—Flubber bounces but it never flies.
    • 61 Metascore
    • 30 Critic Score
    Once the film devolves into teary hospital scenes and courtroom shtik, you might pine for Thelma and Louise's daring road to oblivion. [20 Feb 1995, Pg.72]
    • Newsweek
  35. The superhero genre screams for a makeover, or at least a smart deconstruction, but Hancock isn't that movie. It just ups the foolishness ante.
  36. Trying for a tone somewhere between an art film, an absurdist comedy, a horror movie and an old Saturday-matinee serial, he's made a handsome, cripplingly self-conscious thriller that's devoid of any real thrills. [3 Feb. 1992, p.65]
    • Newsweek
    • 19 Metascore
    • 20 Critic Score
    The flick's ultimate flaw? For a movie about space travel, it's an awfully uninspired trek.
  37. Hampered by a silly plot and flat script.
    • Newsweek
  38. Like people who compulsively giggle whenever they tell you bad news, the movie runs for cover in lame, comic shtick.
    • Newsweek
  39. What was a ragged but often hilarious charmer has been genetically altered into a deafening and desperate mutant.
  40. Kids will be bored, the rest of us baffled.
    • Newsweek
    • 36 Metascore
    • 20 Critic Score
    Final destination? Video store bins.
    • Newsweek
  41. Nutty paranoid thriller.
    • 28 Metascore
    • 20 Critic Score
    Everyone in the film is either annoying or unpleasant.
    • Newsweek
    • 33 Metascore
    • 20 Critic Score
    About as bad as it gets?a thrill-less "Speed" wannabe.
    • Newsweek
  42. A tired, confused romantic comedy/noir thriller with all the suspense of an infomercial. Buy the poster; skip the movie.
    • Newsweek
  43. I staggered out of this shameless, interminable movie feeling as if I'd been force-fed a ton of mealy, artificially sweetened baby food.
    • Newsweek
    • 28 Metascore
    • 20 Critic Score
    Save yourself from this mess.
    • 37 Metascore
    • 20 Critic Score
    The foreboding, dark camera-work is effective in setting the mood for this sinister, eye- popping, frequently ridiculous thriller.
  44. Screenwriter Ropelewski piles one silly plot contrivance upon another, and the characters start behaving like nitwits.
  45. If this is what Hollywood considers serious, important filmmaking, maybe the movie industry should stick to the low road.
    • Newsweek
  46. All the surprises strenuously cooked up by screenwriter Patrick Smith Kelly and director Andrew ("The Fugitive") Davis can't overcome the movie's inability to make us care about any of its paper-thin characters.
  47. The creepy subtext of his (Sandler's) behavior is something this crude, mirthless comedy tries not to notice.
    • 34 Metascore
    • 20 Critic Score
    A "croc" of nonsense.
    • 30 Metascore
    • 20 Critic Score
    Unfortunately, the strong ensemble cast is not able to hold together this often wayward and meandering story.
    • 39 Metascore
    • 20 Critic Score
    Director Joe Johnston ("Honey, I Shrunk the Kids") turns this fantasy into a mean-spirited exercise in terror.
  48. That this relentless barrage of psychological and physical torture is extremely well made and powerfully performed--Watts hurls herself into her physically demanding role with heroic conviction--somehow makes it worse.
    • 35 Metascore
    • 10 Critic Score
    A disappointingly slack, hackneyed comedy.
  49. The combination of Shandling's button-down TV sensibility and Nichols's good taste produces a film whose tone is out of sync with the simple, ribald conceit and is only mildly amusing at best.
  50. As dumb as the film is, the actors escape relatively unscathed.
    • Newsweek
    • 18 Metascore
    • 10 Critic Score
    It stinks. The movie is so inert -- and Madonna’s performance so starkly amateurish -- that it’s impossible to take it seriously as an allegory about class and gender.
    • Newsweek
  51. The dialogue is inane, the acting wooden, and Roger Christian's directing choices are a lesson in sci-fi film cliché.
  52. Matthew Lillard of "Scream," flies like his nickname and tries to bring the film some comic relief not already provided by the stultifying stupidity of the script.
  53. The crude humor in Drop Dead Gorgeous does not have a moral point to it. It's just crude.
    • 18 Metascore
    • 10 Critic Score
    After the schadenfreudian thrill of watching beautiful people humiliate themselves wears off, it has the same annihilating effect on your will to live.
  54. The folks who served up this formulaic swill seem to think comedy grants you a free pass from credibility. Our lonely hero's artificial Yuletide enthusiasm is more than odd: it's not recognizably human.
  55. Hilariously incompetent.
    • Newsweek
  56. Rent the devastating "The Boys of St. Vincent" to see how slick and hollow Sleepers is, how little it reveals about the real nature and effect of child abuse. [28 October 1996, p. 74]
    • Newsweek
  57. The usually reliable director Michael Caton-Jones hasn't a clue how to freshen up such stale material.
  58. Michael Beck (of "The Warriors") shows no discernible talent for musical romanticism Olivia ("Totally Hot") Newton-John sings prettily but is totally tepid, and the ever graceful Gene Kelly deserves a medal for keeping a straight face. Robert Greenwald, the director, should look into another line of work. Perhaps opening a disco? [18 Aug 1980, p.85]
    • Newsweek
  59. A disaster: dull, predictable, at times cringe-worthy.
    • Newsweek
  60. Every once in a while a film comes along that's so inexplicably ghastly that there's just no point in making nice about it.
  61. If you harbor any fond feelings for the original, stay far away from this mess.
    • Newsweek

Top Trailers