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 6.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 La Promesse (The Promise)
Lowest review score: 0 Down to You
Score distribution:
  1. Negative: 67 out of 895
895 movie reviews
  1. Builds dread masterfully, but don't expect solace or "fun." This is not for those who like mysteries neatly resolved.
    • 68 Metascore
    • 70 Critic Score
    As a character study, the film is sensitive and precise, but the weak plot often flounders. Ultimately, Rudolph is a master at conveying mood, and gives Afterglow a melancholy feel that wisely never gives in to total despair.
  2. Crash has no plot to speak of. It's a cinematic tone poem of collisions and coitus.
    • 78 Metascore
    • 70 Critic Score
    In the end, first-time writer-director Kasi Lemmon's ambitions exceed her skill, but her creativity and the breadth of her vision more than make up for her occasional missteps, luring us into a family album of secrets and lies that keeps the audience groping along with this fine ensemble cast for the truths buried in murky waters.
    • 34 Metascore
    • 70 Critic Score
    Think Batman on crystal meth.
    • 58 Metascore
    • 70 Critic Score
    Just about everything in this lavish, animated feature is for the pigtail set, especially a big romance between Pocahontas (Irene Bedard) and the strapping John Smith (Mel Gibson).
  3. Frances McDormand, as the lone female union rep, and Richard Jenkins, as Josie’s angry miner dad, cut through the predictability.
  4. Mandoki's gripping film may pull on the heartstrings too knowingly, but it's hard to forget the sight of the village’s children lying silent and still on every rooftop, praying the recruiting soldiers below will pass them by.
  5. It's a minimalist almost-love story told with epic flourishes.
  6. Jumpy and ironic, Downey is a quicksilver delight and Kilmer is funny as the gay Perry. But Black’s inventive, self-conscious script--heavy on voice-over narration--can be too clever for its own good. The movie is baroque fun, but exhausting.
    • 65 Metascore
    • 70 Critic Score
    All the ingredients for a classic doomed-by-overnight-success movie can be found in the trajectory of Jean Michel Basquiat's short, sad life.
  7. Director Charles ("The Mask") Russell is no James Cameron. He can produce a requisite amount of suspense and mayhem..., but his filmmaking is strictly B-movie generic. [01 Jul 1996 Pg.62]
    • Newsweek
  8. We're here for catty one-liners, movie-star camaraderie and fur-flying vengeance, and, in spite of a regrettable wimpiness that creeps in toward the end, that's what we get.
  9. Though the tale is told with crisp sangfroid and a wonderful twist, there's hardly a scene I haven't seen somewhere else.
  10. There's almost nothing you haven't seen before in this slick, preposterous, but occasionally exciting thriller. An angry Ford absorbs, and dishes out, massive punishment for a fellow his age, while Virginia Madsen is sadly wasted as his wife.
    • 67 Metascore
    • 70 Critic Score
    Holofcener has a wonderful breezy touch. She hides life issues in such sweet moments, you barely notice them as they go down.
  11. The self-deluded, 21-year-old heroine, can be an awful pain, but her meddling misjudgments are redeemed by her wit, grace and budding moral intelligence, and it's Gwyneth Paltrow's triumph that we always keep sight of that potential as she blithely plucks all the wrong heartstrings in town.
  12. With Rachel Portman's music tugging too hard for tears, the movie sometimes comes dangerously close to being the soap opera McPherson worked so hard to disguise.
  13. What Eastwood and Streep have done is to bring a semblance of emotional reality to the story.
  14. This movie is so unself-consciously wholesome it's almost Gumpian.
  15. Holofcener gets the milieu beguilingly right, but the abrupt ending leaves you wanting more.
  16. Ratner's version is friskier, shallower-and more fun.
  17. Bizarre, edgy and haunting tale.
  18. The Madame Bovary-in-suburbia motif may sound familiar, yet the unusual mix of satire and melodrama feels fresh. Not everything works (beware the football scenes), but this adaptation of Tom Perrotta's novel is hard to shake off.
  19. Director Michael Lehmann ("Heathers") nimbly keeps this airy concoction afloat.
  20. Copycat is satisfyingly tense, but the disgusto factor is balanced by its obvious theatricality--neatly captured in the contrasting performaces of Weaver and Hunter, the one playing neurotic standard poodle to the other's tightly wound terrier. [6 Nov 1995, pg.86]
    • Newsweek
  21. What stays with you finally is not the mystery's byzantine twists and turns, which are fun but don't resonate very deeply. It's the time, the place, the palpable feel of community. [2 Oct 1995, p.85]
    • Newsweek
  22. It's preposterous, but never dull: Scott whips the action into a taut, tasty lather.
  23. Blood Diamond only skims the surface of many important subjects--the script doesn't begin to explain what the civil war was about. But if it opens a few eyes, it will have done its job.
  24. Still, even if the movie's vast reach exceeds its grasp, it's a spellbinding history lesson. The Good Shepherd demands you watch it like a spy: alert, paranoid, never knowing whom you can trust, or who will stab you in the back.

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