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 6.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 69
Highest review score: 100 There Will Be Blood
Lowest review score: 0 Down to You
Score distribution:
  1. Negative: 67 out of 900
900 movie reviews
    • 49 Metascore
    • 50 Critic Score
    Roberts and Gibson form a "pas de deux," two lonely urbanites fighting vague yet common enemies in a plot that never quite comes together.
  1. The theatricality is off the charts. Lane aims for the balconies; Broderick tones it down for the camera a bit.
  2. Strikingly devoid of suspense. It’s not always clear who’s the protagonist and who’s the antagonist. Nor is it scary—at its most intense moments, it’s merely yucky.
    • Newsweek
  3. Technology has squeezed character to a few measly pixels on the digital screens. Explosions have replaced dramatic climaxes.
  4. Labour teeters on the edge of the amateur. Yet it's hard not to root for its moonstruck spirit, or to succumb to the panache of the pastiche.
  5. Quantum of Solace isn't frivolous or cheesy, but it isn't all that much fun either.
    • 31 Metascore
    • 50 Critic Score
    Offers easy wisdom and light-hearted fun.
  6. Demme is understandably reluctant to linger on the horrors of slavery, but it's a dramaturgical mistake. The quick, shocking flashbacks of Sethe's brutalization by her white masters don't do the job--they're horrific, but with a B movie luridness.
  7. Penn's eye for landscapes is stunning, and his affection for outsider lifestyles is tangible. Hirsch, who carries the film on his increasingly emaciated shoulders, performs heroically, but there's an edge missing. The ideal casting would have been the young Sean Penn.
  8. The presence of Connery is pure balm, purring those Celtic tones like smoky single-malt Scotch.
    • 65 Metascore
    • 50 Critic Score
    There's an ample sense of foreboding in Last Night -- but sadly, very little else.
    • 41 Metascore
    • 50 Critic Score
    Shot in crisp black and white, this homage to "La Dolce Vita" nonetheless lacks the charm and energy of Fellini's farcical original.
  9. Director Mimi Leder fills the mindless-action-movie quota quite stylishly. The trouble is, The Peacemaker thinks it has a mind.
  10. Just at the point when Alien 3 should kick into high terror gear, it becomes clear that this hushed, somber sequel doesn't know how to deliver the goods. Fincher has style to spare -- and the sets, cinematography and special effects are all first rate -- but the nuts and bolts of storytelling elude him. [1 June 1992, p.73]
    • Newsweek
  11. Aims for a "Princess Bride" mix of whimsy and wonderment, the sardonic and the romantic, with only sporadic success. Both visually and narratively cluttered, the film diverts more than it enchants.
  12. There’s a great, piercing story here, but too often you feel you’re watching it through the wrong end of the telescope.
  13. The fans who have kept John Berendt's nonfiction tale on the best-seller list for more than three years may come away feeling they've seen "Perry Mason" on Valium. [1 December 1997, p.87]
    • Newsweek
  14. It has a lovely score by Thomas Newman, stunning production design, striking costumes and gorgeous cinematography. Unfortunately, it just doesn't jell.
  15. Enough already with the faux documentary!
  16. There's a quirky, honest movie struggling to emerge from Then She Found Me (April's Jewish heritage is refreshingly portrayed, and there are lovely, scattered moments when the characters surprise you), but Hunt, in her directorial debut, can't seem to decide whether she'd rather make a spicy ethnic dish or bland comfort food.
    • 46 Metascore
    • 50 Critic Score
    It does justice to its source material -- and that may be the problem.
  17. This clumsy attempt to merge Jane Austen's classic with Bollywood musical conventions falls painfully flat.
  18. Instead of being moved by Christ's suffering, or awed by his sacrifice, I felt abused by a filmmaker intent on punishing an audience, for who knows what sins.
  19. Unfortunately, this narf's a drag: she talks like a fortune cookie and doesn't really do anything. Still, the multicultural cast is fun, the images have a painterly beauty and there are some beguiling comic touches before the story sinks into a swamp of solemn metaphysical glop.
  20. Attempting a frame-by-frame duplication of Warner Bros. '40s filmmaking--even the extroverted acting style apes the period--Soderbergh has produced a movie so self-conscious that it's drained of all life.
  21. Robbins eschews leftist diatribes for a bold cartoon version of history. It's as crowded and energetic as a big parade...and just about as subtle.
    • Newsweek
  22. Maybe you have to be 14 to find all of this terribly clever.
    • Newsweek
    • 51 Metascore
    • 40 Critic Score
    May only be remembered for featuring the first homoerotic nude bathing scene in children's animated movie history.
  23. It's not just that the movie is formulaic; it's disingenuous. It relies on Roberts's smile to erase all misgivings. But all the stardust in the world can't disguise the fact that this is more package than picture.
    • 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

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