Newsweek's Scores

  • Movies
  • TV
For 898 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 6.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Memento
Lowest review score: 0 Down to You
Score distribution:
  1. Negative: 67 out of 898
898 movie reviews
  1. This is an elaborate production, but all the jazzy sets and explosions in the world can't disguise the story's complete lack of urgency.
  2. 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
  3. 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.
  4. 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.
    • 86 Metascore
    • 40 Critic Score
    In the end, the film lacks the skill of its actors and ends up feeling disjointed and confused about its own message.
  5. 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.
    • 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.
  6. Newell, no hack, tries not to milk the cliches shamelessly, and that may be the movie's final undoing. Lacking the courage of its own vulgarity, Mona Lisa Smile is as tepid as old bathwater.
  7. This is a movie afraid of its own shadows.
    • Newsweek
  8. All the state-of-the-art technology in the world is no help to an actor saddled with Lucas's tinny dialogue.
    • 38 Metascore
    • 40 Critic Score
    A mish-mash of special effects, tasteless comedy and pointless action.
  9. The entire solemn, portentous edifice that is The Village collapses of its own fake weight. Just about everything that makes Shyamalan special misfires here.
    • 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.
  10. In this distressingly generic spy spoof, it's not Maxwell who's clueless, but the filmmakers.
  11. A paint-by-numbers old-fashioned romantic epic, Head in the Clouds is neither romantic nor epic, but it does succeed at old-fashioned.
    • 66 Metascore
    • 40 Critic Score
    Ultimately, this is a war of boorishness vs. sensitivity, and the filmmakers waffle.
  12. An adult love story that's trying for stiff-upper-lip poignancy.
    • 36 Metascore
    • 40 Critic Score
    Relax and enjoy the brain candy.
  13. But Die Hard WAV lacks the freshness of its two predecessors: we've had it with gassy police psychiatrists and supersmart terrorists.
  14. 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.
    • 34 Metascore
    • 40 Critic Score
    Midler's performance does not stand out. She remains very much Bette Midler.
  15. Gorgeous but curiously weightless.
    • 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.
  16. We've seen it all before and such familiarity kills impact.
    • 47 Metascore
    • 40 Critic Score
    The General's Daughter purports to be a serious examination of the seedy underbelly of military life, but one has the uneasy sensation that it simply wants to show as much of it on screen as possible.
    • 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?
  17. It's poppycock, but well directed: Ruben delivers two or three guaranteed jolts, which almost make up for the copout of an ending.
  18. 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
  19. Has its heart in the right place, but its funnybone is out of joint.
  20. The film's claustrophobic, color-coordinated dourness yields little illumination, and as the surging violins accompany our heroine's un-raveling mind, the movie comes queasily close to romanticizing suicide. I knew I was supposed to feel something, but what?
  21. 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
    • 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.
    • 52 Metascore
    • 30 Critic Score
    Neil LaBute’s Possession is bad, but not spectacularly bad, which is disappointing.
    • Newsweek
  22. You know a romantic comedy is in trouble when you root for the hero not to get the girl.
    • Newsweek
    • 65 Metascore
    • 30 Critic Score
    It's punishingly dull for fully half of its two hours and 45 minutes.
  23. Flat, distressingly witless -- To put it bluntly -- the thrill is gone. Nobody did it better. But that was then.
    • Newsweek
  24. 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.
    • 43 Metascore
    • 30 Critic Score
    Despite some funny lines and situations, this comedy falls short.
    • 32 Metascore
    • 30 Critic Score
    A half-hearted comedy whose jokes are far from a knockout.
  25. Downright repetitive! [30 May 1983]
    • Newsweek
  26. 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.
    • 37 Metascore
    • 30 Critic Score
    If only the movie itself had so much spunk—Flubber bounces but it never flies.
  27. 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.
  28. 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
  29. Sarah Thorp’s lazy script lurches from the lame to the ludicrous.
    • 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.
  30. A lumbering, self-important three-hour melodrama that defies credibility at every turn.
    • Newsweek
    • 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
  31. 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.
  32. Bad, but not criminally so.
  33. 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
    • 36 Metascore
    • 30 Critic Score
    Rapidly veers towards tired 80's territory rather than offering anything new and fresh.
  34. This echo of the WWII internment of Japanese-Americans is the only new gimmick in Edward Zwick's entry in the cliche- terrorist genre.
    • 51 Metascore
    • 30 Critic Score
    An empty videogame of a movie about interplanetary pest control.
  35. This is a farfetched premise, and the movie pays a price for it.
    • Newsweek
  36. The special effects are definitely the best thing about this curiously bland disasterthon.
  37. 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
  38. As adroit and charming as Witherspoon is--and she gives it her all--she cannot rise above the embarrassingly broad, witless material.
  39. All shots and no scenes, which is nice for a picture book but deadly for drama.
    • 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.
  40. So bland and un-lived in you want to pour Tabasco all over the screen.
    • 28 Metascore
    • 20 Critic Score
    Everyone in the film is either annoying or unpleasant.
    • Newsweek
    • 34 Metascore
    • 20 Critic Score
    A "croc" of nonsense.
    • 37 Metascore
    • 20 Critic Score
    The foreboding, dark camera-work is effective in setting the mood for this sinister, eye- popping, frequently ridiculous thriller.
  41. What was a ragged but often hilarious charmer has been genetically altered into a deafening and desperate mutant.
  42. 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.
    • 30 Metascore
    • 20 Critic Score
    Unfortunately, the strong ensemble cast is not able to hold together this often wayward and meandering story.
  43. Hampered by a silly plot and flat script.
    • Newsweek
  44. A tired, confused romantic comedy/noir thriller with all the suspense of an infomercial. Buy the poster; skip the movie.
    • Newsweek
  45. The creepy subtext of his (Sandler's) behavior is something this crude, mirthless comedy tries not to notice.
  46. If this is what Hollywood considers serious, important filmmaking, maybe the movie industry should stick to the low road.
    • Newsweek
  47. Screenwriter Ropelewski piles one silly plot contrivance upon another, and the characters start behaving like nitwits.
  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.
    • 33 Metascore
    • 20 Critic Score
    About as bad as it gets?a thrill-less "Speed" wannabe.
    • Newsweek
    • 19 Metascore
    • 20 Critic Score
    The flick's ultimate flaw? For a movie about space travel, it's an awfully uninspired trek.
  49. 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.
  50. Like people who compulsively giggle whenever they tell you bad news, the movie runs for cover in lame, comic shtick.
    • Newsweek
    • 36 Metascore
    • 20 Critic Score
    Final destination? Video store bins.
    • Newsweek
  51. Nutty paranoid thriller.
    • 39 Metascore
    • 20 Critic Score
    Director Joe Johnston ("Honey, I Shrunk the Kids") turns this fantasy into a mean-spirited exercise in terror.
  52. Kids will be bored, the rest of us baffled.
    • Newsweek
  53. As dumb as the film is, the actors escape relatively unscathed.
    • Newsweek
  54. The crude humor in Drop Dead Gorgeous does not have a moral point to it. It's just crude.
  55. 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
    • 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.
  56. 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.
    • 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
  57. The dialogue is inane, the acting wooden, and Roger Christian's directing choices are a lesson in sci-fi film cliché.
  58. Hilariously incompetent.
    • Newsweek
  59. 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.
  60. The usually reliable director Michael Caton-Jones hasn't a clue how to freshen up such stale material.
  61. 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
  62. 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.
    • 35 Metascore
    • 10 Critic Score
    A disappointingly slack, hackneyed comedy.
  63. 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.
  64. If you harbor any fond feelings for the original, stay far away from this mess.
    • Newsweek
  65. A disaster: dull, predictable, at times cringe-worthy.
    • Newsweek

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