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 JFK
Lowest review score: 0 Book of Shadows: Blair Witch 2
Score distribution:
  1. Negative: 67 out of 903
903 movie reviews
  1. (Douglas) is a superb (and underused) comic actor, one who knows that the secret of being funny is never begging for a laugh.
  2. Explores both prepubescent and teen sexuality with an honesty that may make some people uncomfortable, which is a sign of its potency, and a badge of honor.
  3. Juxtaposes beauty and horror to fashion a savage and lyrical cinematic poem.
  4. The nutty thing is, by the end of this jolly, oddly compelling and genuinely suspenseful documentary, the ridiculousness of such notions seems open to genuine debate.
  5. It's like a spectacular roadside accident: you can't turn away.
  6. The movie holds you in its grip from start to finish.
  7. A streak of pitch-black humor, some bawdy detours and a touch of sanguine, sun-baked poetry Sam Peckinpah would have liked.
    • 66 Metascore
    • 80 Critic Score
    She's (Zellweger) so disarming and so deeply Bridget -- gliding between mortifying slapstick and pathos -- that she's entirely won you over by the time the credits have rolled. The opening credits.
    • Newsweek
    • 81 Metascore
    • 80 Critic Score
    A brutal black comedy. It asks real questions and takes real chances.
  8. Seabiscuit may be too airbrushed for its own good, but in the end nothing can stop this story from putting a lump in your throat.
  9. Australia is a shameless—and shamelessly entertaining--pastiche. It works because Luhrmann, a true believer in movie-movie magic, stamps it all with the force of his own extravagant, generous personality.
  10. Perfectly reflects the range of this funny, disturbing and complex tale.
  11. This time out the versatile Soderbergh has cast himself as a sleight-of-hand artist. He's made deeper films, but this carefree caper movie is nothing to sneeze at.
    • Newsweek
    • 65 Metascore
    • 80 Critic Score
    Arlington Road does a nice job of keeping things speculative enough to remain interesting.
  12. Punch-Drunk Love is one dark, strange-tasting sorbet, its sweetness shot through with startling, unexpected flavors. It’s a romantic comedy on the verge of a nervous breakdown.
  13. Smith startles us with raw emotional honesty.
  14. Jordan is always best on his native Irish turf, and he's in grand mischievous form in this picaresque fable.
  15. Bjork gives what may be the most wrenching performance ever given by someone who has no interest in being an actor.
    • Newsweek
  16. Once again Disney has come up with a winning animated feature that has something for everyone on the age spectrum.
  17. Gus Van Sant, working from the tangy, well-written script, gets so much humor, grit and emotional truth out of this tale that the familiar formulas behind it simply fall away.
  18. Woody Allen is back in sharp comic form, though it's likely that his abrasive black comedy Deconstructing Harry will alienate as many people as it tickles.
  19. The end is predictable after the first five minutes (two, if you're smart), but the film sucks you in all the same.
  20. For action junkies, The Bourne Ultimatum will be like a hit of pure meth. It's bravura filmmaking in the jittery, handheld, frenetically edited Paul Greengrass style.
  21. Instead of losing myself in the story, I often felt on the outside looking in, appreciating the craftsmanship, but one step removed from the agony on display. Revolutionary Road is impressive, but it feels like a classic encased in amber.
    • 76 Metascore
    • 80 Critic Score
    For the eternal adolescents of the '80s, "Warrior" is even more primal fun than its predecessor. Miller has perfected the popup Spielberg style and laced it with speed. [31 May 1982, p.67]
    • Newsweek
  22. Steven Knight’s smart, if overly plotted, script delivers social insights tautly wrapped in genre thrills.
  23. Every bit as tasteless, irreverent, silly and smart as the Comedy Central cartoon that catapulted creators Trey Parker and Matt Stone into the Hollywood catbird seat.
  24. It’s too early to place Eminem alongside those Hollywood giants (Jimmy Cagney/John Garfield), but the promise is there. He understands the power of being still in front of a camera. Compact, volatile and burningly intense, he’s got charisma to spare.
    • Newsweek
  25. Zwigoff doesn't hype up the gags, and his deliberately deadpan style gives even farfetched jokes an edge of reality.
  26. This hothouse tale of grief, sex and betrayal is told with a cool detachment that renders it commendably unsentimental--and slightly remote.

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