Newsweek's Scores

  • Movies
  • TV
For 903 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: 69
Highest review score: 100 You Can Count on Me
Lowest review score: 0 Down to You
Score distribution:
  1. Negative: 67 out of 903
903 movie reviews
  1. The saving grace of Con Air is its sense of its own absurdity.
  2. Go
    John August's trickily structured script owes an all too obvious debt to "Pulp Fiction," but Liman's film is more like kiddie Tarantino.
  3. If only the laughs were bigger, smarter and more frequent than they are.
  4. It’s not half bad, with cool locations and a great stunt leap from the top of a Hong Kong high-rise.
  5. It's not as cool as it sounds.
    • Newsweek
  6. Wanted has one good plot twist in store (though it makes little sense), and its sense of humor about its own silliness keeps the fantasy afloat for a while. But as the body count rises, so does the portentous tone, and the relentlessness of Bekmambetov's overamped style becomes oppressive.
  7. Alternately enrapturing and exhausting, brilliant and glib, this is a "Romeo and Juliet" more for the eyes than the ears. [4 Nov 1996, pg.73]
    • Newsweek
    • 70 Metascore
    • 50 Critic Score
    While the first half showcases an impressive new directorial talent, the last two quarters fail to score.
    • 52 Metascore
    • 50 Critic Score
    The main problem is the script, which has a few scares but little smarts.
  8. An ambitious, intense, but overdetermined exploration of the varieties of ethnic intolerance.
  9. It succeeds in bringing O'Barr's comic-book vision to life, but there's little else going on behind the graphic razzle-dazzle and the moody, ominous soundtrack.
  10. Howard redeems this lumpy fantasy. Soft-spoken and mysterious, he presides over the movie with a dangerous, feline grace.
  11. It's gorgeous. It's epic. It's spectacular. But two hours later, it also proves to be emotionally impenetrable.
    • 39 Metascore
    • 50 Critic Score
    The film has its dumb points: too many shots of churning surf and lovers nestled in beach blankets, not to mention the premise that women find incommunicative, hulking shells like Blake the height of irresistibility. But it gets you.
  12. This time out, Shyamalan the writer lets Shyamalan the director down badly.
    • Newsweek
  13. I might buy Babel if it had any real interest in its characters, but it's too busy moving them around its mechanistic chessboard to explore any nuances or depths.
  14. A fine film; as an Ed Norton picture, it's a disappointment.
  15. Just because Sandler's Sonny makes little sense as an actual human being doesn't mean he won't make you laugh.
  16. How do you literalize heaven? It's a problem moviemakers have struggled with forever, and Jackson hasn't solved it.
  17. The longest, grimmest and least funny of the trilogy.
  18. Congo is basically the old African ooga-mooga movie brought into the P.C., high-tech age.
    • 46 Metascore
    • 50 Critic Score
    Payback may not always be P.C., but it's not interested in making friends, anyway. Just killing enemies.
  19. The plain fact is that Halloween II is quite scary, more than a little silly and immediately forgettable. [16 Nov 1981, p.117]
    • Newsweek
  20. There are inspired moments in this edgy, unstable comedy.
    • 43 Metascore
    • 50 Critic Score
    At least in the new Omen, the filmmakers have the sense to keep evil Damien's dialogue to a minimum. His villainy is all in the dimples. But is it too familiar to be scary anymore?
  21. Baby Mama is rescued by two scene-stealing veterans: Sigourney Weaver as the smug, patrician owner of the surrogate company, and a priceless, ponytailed Steve Martin as the self-infatuated New Age owner of Round Earth. These two aren't onscreen a lot, but the movie seems most fully alive when they are.
  22. It's filled with Mann's signature macho verisimilitude, but essentially it's the stuff of what, in saner fiscal times, would have been a B movie. Miami Vice delivers the thrills, atmosphere and romance it promises, but it doesn't resonate like major Mann.
  23. Before it degenerates into Indiana Potter and the Chamber of Doom, the movie holds promise -- it hints at why the Harry Potter movies aren’t half as wonderful as they ought to be, why they feel created from the outside in. Magic isn’t made by committee.
    • Newsweek
  24. Sometimes stunning, ultimately stupefying epic .
  25. Soft to the point of squishiness, Phenomenon is rescued from terminal bathos by Travolta's radiant conviction.

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