Newsweek's Scores

  • Movies
For 894 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 Good Night, and Good Luck.
Lowest review score: 0 Meet Joe Black
Score distribution:
  1. Negative: 67 out of 894
894 movie reviews
  1. 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.
    • 38 Metascore
    • 40 Critic Score
    A mish-mash of special effects, tasteless comedy and pointless action.
    • 36 Metascore
    • 40 Critic Score
    Relax and enjoy the brain candy.
  2. It's a gorgeous bad movie, the folly of a great visual stylist.
  3. Has its heart in the right place, but its funnybone is out of joint.
    • 51 Metascore
    • 40 Critic Score
    May only be remembered for featuring the first homoerotic nude bathing scene in children's animated movie history.
  4. An adult love story that's trying for stiff-upper-lip poignancy.
  5. O
    The actors attack their roles with commitment (Hartnett’s understatement is impressive), but their fervor can’t hide the movie’s implausible, often confusing storytelling.
  6. This is an elaborate production, but all the jazzy sets and explosions in the world can't disguise the story's complete lack of urgency.
    • 47 Metascore
    • 40 Critic Score
    The General's Daughter purports to be a serious examination of the seedy underbelly of military life, but one has the uneasy sensation that it simply wants to show as much of it on screen as possible.
  7. This is a movie afraid of its own shadows.
  8. Gorgeous but curiously weightless.
  9. All the state-of-the-art technology in the world is no help to an actor saddled with Lucas's tinny dialogue.
  10. Torn between moody grandiosity and cartoonish mayhem, Daredevil tries to have it both ways, and succeeds at neither.
  11. Too facile to resonate deeply. Shouldn't a movie celebrating Nash give you some idea what his mathematical work is about? Fishier still is the suggestion that the cure for paranoid schizophrenia is love.
    • 86 Metascore
    • 40 Critic Score
    In the end, the film lacks the skill of its actors and ends up feeling disjointed and confused about its own message.
  12. The film's claustrophobic, color-coordinated dourness yields little illumination, and as the surging violins accompany our heroine's un-raveling mind, the movie comes queasily close to romanticizing suicide. I knew I was supposed to feel something, but what?
  13. Newell, no hack, tries not to milk the cliches shamelessly, and that may be the movie's final undoing. Lacking the courage of its own vulgarity, Mona Lisa Smile is as tepid as old bathwater.
    • 38 Metascore
    • 40 Critic Score
    BASEketball feels stale and inert. Still, Parker and Stone have a nice, giddy rapport, and it's a kick to hear traces of Cartman and Kenny in their dude-speak.
    • 55 Metascore
    • 40 Critic Score
    There are no ideas, just repartee. Snoop Dogg, as a superfly snitch, and Vince Vaughn, as a drug lord, are wasted in obvious supporting roles. It's harmless fun--and too lazy to be more.
    • 61 Metascore
    • 40 Critic Score
    An over-the-top thriller, too loosely tethered to reality to be a lesson about anything other than the limits of popcorn consumption.
  14. Von Trier, however, undercuts the universality of his own message with his meretricious closing credits, set to David Bowie's "Young Americans," which explicitly turns Dogville into an anti-American screed.
    • 44 Metascore
    • 40 Critic Score
    A noble but supernaturally dull movie.
    • 46 Metascore
    • 40 Critic Score
    Unfortunately, none of this is very much fun. The cinematography is dark and depressing. The dialogue is stilted. And for some reason, director Antoine Fuqua has even ditched the Arthur/Guinevere/ Lancelot love triangle.
  15. The entire solemn, portentous edifice that is The Village collapses of its own fake weight. Just about everything that makes Shyamalan special misfires here.
  16. A paint-by-numbers old-fashioned romantic epic, Head in the Clouds is neither romantic nor epic, but it does succeed at old-fashioned.
  17. It's poppycock, but well directed: Ruben delivers two or three guaranteed jolts, which almost make up for the copout of an ending.
  18. Maybe you have to be 14 to find all of this terribly clever.
    • 34 Metascore
    • 40 Critic Score
    Midler's performance does not stand out. She remains very much Bette Midler.
  19. Onstage, trapped in the mini-wasteland of the parking lot, the creeped-out kids crackled like lightning in a bottle. Linklater's meager attempts to open up the movie drain its energy.

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