Newsweek's Scores

  • Movies
  • TV
For 1,013 reviews, this publication has graded:
  • 59% higher than the average critic
  • 3% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 5.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Happiness
Lowest review score: 0 Down to You
Score distribution:
1013 movie reviews
  1. Sometimes stunning, ultimately stupefying epic .
  2. Soft to the point of squishiness, Phenomenon is rescued from terminal bathos by Travolta's radiant conviction.
  3. The movie does have somewhat more lilt and levity, much of it due to Jim Carrey as the Riddler. But there's still plenty of murk, physical and metaphysical, and more psychobabble about Bruce Wayne's obsessions and repressions.
  4. Mangold is something of a pseudo-Scorsese, assembling elements of other pictures like "Internal Affairs" and "Bad Lieutenant" into an eclectic mix that lacks its own vital reality.
  5. Away from the television screen, Selleck is as stiff as his bulletproof vest. The only fun performers here are sexy, Kinskilipped Kirstie Alley as a scapegoat and a swarm of robot spiders that clatter-crawl all over their victims. [17 Dec 1984, p.84]
    • Newsweek
    • 44 Metascore
    • 50 Critic Score
    Charming cinematic bauble.
  6. This slick, handsomely produced thriller only gets the pulse half racing.
    • Newsweek
  7. A style so chic, studied and murky it resembles a cross between a Nike commercial and a bad Polish art film.
  8. Hughes is just treading lukewarm water. Stotz is the blandest of his teen heroes yet. [16 Mar 1987]
    • Newsweek
  9. A flat, cliched film in a flat, cliched genre.
  10. Along the way, not just the storytelling but the original intention has gotten muddled. You leave The Alamo uncertain of what you're meant to feel: is this a celebration of patriotic sacrifice or an illustration of war's futility?
  11. Unless you’re 15 at heart, you may need anger management yourself after sitting through this aggressively crass comedy, which alternates between mean-spirited slapstick and arbitrary uplift.
  12. Edwards's sputtering rhythm makes it tough for Moonlighting's Bruce Willis, who nonetheless in his first leading movie role mixes a nice blend of brashness and bewilderment. [13 Apr 1987, p.77]
    • Newsweek
  13. Lurching uncertainly from slapstick to tears, The Family Stone works hard to warm the cockles of our hearts. The cast is attractive. The sentiments are commendable. But the love Bezucha wants us to feel for the family couldn't possibly compete with the love they already feel for themselves.
  14. Never mean-spirited, A Dirty Shame has some big laughs, but it's a one-joke movie that shows its strain well before the finish line.
    • 36 Metascore
    • 50 Critic Score
    Provides some great laughs, but founders when it tries to tackle more serious issues. Entitled "10 Dates," it might have been a much better film.
    • 44 Metascore
    • 50 Critic Score
    As long as Polanski keeps his focus on character and ambiance, the film is an eerie pleasure. But he doesn't, and it degenerates into a second-rate chase movie which takes its supernatural overtones either too seriously or too lightly to be convincing.
  15. The semifunny Semi-Pro is amiable enough, but you never feel there's much at stake.
  16. For me, there's a problem with The Hulk, always has been, though it hasn't seemed to bother the tale's legions of fans. When the sensitive, physically unprepossessing Banner/Norton turns into the gargantuan, muscle-bound, growling Hulk, there's a total disconnect.
  17. Poor Affleck. He doesn’t just have to singlehandedly save the world from nuclear destruction, he has to erase our memories of Ford and Baldwin. That’s a tall order for any actor, and Affleck, an expert at playing cocky, callow yuppies, just doesn’t have the heft.
    • Newsweek
  18. As tempting as it may be to herald Romero as the Swift of schlock, his shopping-mall metaphor is really little more than a clever gag. The director's technique has been refined since his "Living Dead" days, but his grasp of characters is still pretty crude, and he reveals himself to be an all-too-predictable liberal moralists when he singles out the woman and the black as the true heroes. These objections should not-and won't-keep Romero loyalists away. For blood, guts and chuckles, most horror fans will undoubtedly find Dawn of the Dead finger-lickin' good. [7 May 1979, p.90]
    • Newsweek
  19. There isn't an ounce of genuine affection on display. Fenton and Barbato already made a documentary of the same title about Alig, and their fascination with this vapid, charmless pied piper of decadence remains a mystery.
  20. Manages to take an urgent, important topic and turn it into standard Hollywood melodrama. What a waste.
  21. This is one of the silliest movies ever made--and lots of instantly forgettable fun.
    • 35 Metascore
    • 50 Critic Score
    There is too much disconcerting and nasty violence in this light-hearted caper, but when it sticks to its romantic guns, it is often charming.
  22. You're not sure where it's headed, but with an ensemble this good the aimlessness seems invigorating. It's when the plot kicks in that Newell's movie gets less interesting. It's frustrating to see such a promising premise, and such a delightful cast, wasted.
  23. Spielberg has gone to such lengths to avoid boredom that he has leaped squarely into the opposite trap: this movie has such unrelenting action that it jackhammers you into a punch-drunk stupor. This may be the first movie whose audience O.D.'s on action. [4 June 1984, p.78]
    • Newsweek
  24. A decidedly mixed bag.
    • Newsweek
  25. The movie becomes a crazy quilt of competing stories, none of them properly developed. You could cut half the major characters out of Mr. Brooks and never miss them.
  26. You don't have to have lived through the period to find this wrenching. And you don't have to doubt Estevez's sincerity to find it emotionally opportunistic.

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