Newsweek's Scores

  • Movies
For 892 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 7.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 The People vs. Larry Flynt
Lowest review score: 0 Meet Joe Black
Score distribution:
  1. Negative: 67 out of 892
892 movie reviews
  1. As Good as It Gets works: by the end you'll no doubt be won over by its cranky hero. But for those of us who cherish the quirkily unformulaic Brooks of old, it's a tainted victory.
    • 63 Metascore
    • 60 Critic Score
    Tries too hard to prove it has a "heart" when the whole point is that its subjects do not.
  2. This may be a less than ideal “Earnest,” but it still has delights, not least of all Anna Massey’s Miss Prism, Cecily’s dotty tutor, and Tom Wilkinson’s Dr. Chasuble, her clergyman admirer.
    • 59 Metascore
    • 60 Critic Score
    If it all seems a bit dizzying, it is, but there's plenty to enjoy.
    • 69 Metascore
    • 60 Critic Score
    Frothing from two mouths, they parody film noir, megaviolent thrillers, sports allegories, ravaged-war-veteran movies, existentialist Westerns, even Busby Berkeley musicals.
  3. This material is charged enough without piling on the melodrama and the lip-smacking violence. The movie too often sacrifices reportage for razzle-dazzle.
    • 61 Metascore
    • 60 Critic Score
    Uneven but spunkily energetic movie.
  4. Damon's Ripley is considerably different from the charming sociopath in Patricia Highsmith's novel or the smooth lothario played by Alain Delon in the 1960 French thriller "Purple Noon."
    • 58 Metascore
    • 60 Critic Score
    A surprisingly earnest and cautionary movie, careful to attract female viewers and not freak parents out too badly.
  5. Those who haven’t seen “Lock, Stock” will probably get a bigger kick out of Snatch than those who have. The second time around, what seemed spontaneous can sometimes feel strained.
  6. The movie tries too hard. Too bad. This coulda been a contender.
  7. What makes you giggle your way through much of the movie isn't the jokes--Jonathan Gems's script is surprisingly feeble, and Burton's comic timing is often flat-- but the sheer, oddball chutzpah of it all. [23 Dec 1996]
  8. The most incendiary movie to come out of Hollywood in a long time. It's a mess, but one worth fighting about.
  9. Gangs is a dream project Scorsese has wanted to make for 30 years. You have to honor its mad ambition. But sadly, it feels like a dream too long deferred.
  10. Has a quiet sense of community, a wry, unsentimental sweetness, that grows on you. It's a patient movie for impatient times.
  11. Richard Donner's sequel is more than eager to please -- it's desperate.
  12. Scott's finesse can't entirely disguise the mechanical nature of Nicholas and Ted Griffin's script, which has one too many twists for its own good. Fun while it lasts, but it's a bit of a con job itself.
  13. Relieved of his courting duties, Allen gives his funniest performance in ages.
    • 63 Metascore
    • 60 Critic Score
    For all its parodic elements, this clever 'whodunit' leaves us squirming and wincing at each slash of the killer. Prepare for a surprise and beware the person enjoying the film right next to you.
  14. For all its shortcomings, The Human Stain is an honorable, sometimes moving attempt, better at evoking the poignancy of Silk's autumnal affair than exploring the moral ambiguities of his deception.
  15. Alternately beguiling and bloated, witty and warmed over, smart and pandering. The majority is likely to swoon; the minority will squirm their way through it.
  16. What keeps this movie honest is the characters, each of them a mass of conflicting instincts, virtues and vices. You know Gonzalez Inarritu comes from outside Hollywood because he doesn't divide the world into heroes and villains.
  17. This sweet, sometimes clunky chick flick is a likable teen romance, but not likely to arouse the giddy swoons Patrick Swayze and Jennifer Grey generated back in ’87.
  18. In trying to appeal to a wide audience, quirky material has been forced to fit a formula that can't really contain it.
    • 59 Metascore
    • 60 Critic Score
    Meg Ryan lends her trademark feistiness to Anastasia, and John Cusack makes Dimitri eminently likable.
    • 67 Metascore
    • 60 Critic Score
    That's the real problem with Fahrenheit 9/11: not the message, but the method… Moore’s default mode is overkill: he even notes that on the night before the attacks Bush slept on "fine French linen." Surely scratchy muslin wouldn't have stopped the evildoers.
  19. Robert Zemeckis's movie is frustratingly uneven. When it's good, it's very good. And when it's not, it can be as silly and self-important as bad '50s sci-fi.
  20. Nair and Witherspoon pull back from the ferocity of Thackeray's portrait: they're afraid we won't find Becky Sharp likable enough. Yes, she's the most brilliant, bold and vibrant creature in this social panorama, but she should also be chilling.
  21. Full of invention, but under the colorful icing is a slightly stale cake.
  22. Films about great theatrical divas (so temperamental! So divine!) all strike familiar notes. This Somerset Maugham adaptation is no exception. But Annette Bening, playing the queen of the '30s London stage, makes it worth another go-round.

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