Newsweek's Scores

  • Movies
  • TV
For 1,016 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 Cat People
Lowest review score: 0 Down to You
Score distribution:
1016 movie reviews
  1. Screenwriters Heather Hach and Leslie Dixon have devised some lovely and hilarious variations on Rodgers’s irresistible premise.
    • 60 Metascore
    • 80 Critic Score
    Though there was little surprise by the end--how could there be?--Notorious,' a movie about the life and death of rapper Christopher Wallace (a.k.a. The Notorious B.I.G., a.k.a. Biggie Smalls, a.k.a. Biggie), still managed to stun, unsettle and move me.
  2. Mingling reality and fantasy, Forster has given us a luminous, touching meditation on life and art.
  3. It's hands down the funniest of the year, both pushing the boundaries of bad taste and exploring how those boundaries keep shifting.
    • 75 Metascore
    • 80 Critic Score
    The portraits are spare but right on target. And the film keeps you laughing even as you feel the pain of the characters.
  4. Octopussy, the 13th of the Bond adventures and the sixth to star Roger Moore, isn't as exhilarating as "The Spy Who Loved Me". But it's the most enjoyable since then, in large part because it's not trying to be the ultimate anything. [13 June 1983, p.77]
    • Newsweek
  5. That's the paradox that makes this parade of folly so much fun: it feels as if everyone involved is having a high old time, and their enthusiasm is contagious.
    • 50 Metascore
    • 80 Critic Score
    Has its flaws, but at its best it’s a fleet, fun action movie -- and certainly one of the cooler blockbusters that Hollywood will cough up this godforsaken summer.
    • 56 Metascore
    • 80 Critic Score
    Troy is a fun, energizing piece of summer entertainment, even if it doesn't have the depth or the sustained intensity of "Gladiator."
  6. Though it lacks "Wallace and Gromit"'s charm, its mile-a-minute inventiveness is impressive.
  7. Though some of the violence is nastier than it needs to be and the obligatory climactic melee, complete with choppers, skidding trucks and explosions, overstays its welcome, The Long Kiss Goodnight stays fun because it plays its heroine's split personality for laughs, not trauma.
  8. A shameless crowd-pleaser.
  9. Unlike many dramas of middle-class family wreckage, which tilt toward soapoperatic revelations, The Ice Storm is told from an ironic, almost meditative distance that gives the movie its paradoxical power.
  10. The script is an odd take on the Cinderella formula, but Barrymore makes it shine with her relentless charm.
  11. The beauty and scale of Miyazaki's vision shines through.
  12. It might, however, have been a greater film if its villain were as compelling as its flawed hero. Williams is effectively creepy, but next to Pacino’s rich, multileveled portrait he seems one-note, and one we’ve seen before.
    • Newsweek
    • 71 Metascore
    • 80 Critic Score
    Director Doug Liman has an impressive eye for detail and an even better ear for dialogue, producing a perceptive and delightfully funny take on the buddy movie.
    • 90 Metascore
    • 80 Critic Score
    A moving, complex and dreamlike tale.
  13. Take the movie's first words to heart: watch closely. You'll be well rewarded.
  14. The uncontestable triumph of Goblet of Fire, however, is Brendan Gleeson's Alastor (Mad-Eye) Moody, the grizzled new Defense Against the Dark Arts professor.
    • 65 Metascore
    • 80 Critic Score
    At its best it's a marvel: bold, exciting and full of visions.
  15. Ferocious and sometimes creepily funny, Bully is a raunchy suburban "Crime and Punishment."
  16. A Single Man's sleek surface may go against Isherwood's crisp, understated prose, yet the story's beating, wounded heart and its spiky intelligence still come through, personified in Firth's moving, eloquently internalized performance.
  17. Luke has real movie-star power. He's enormously sympathetic, but this moving, well-crafted movie, written by Shawn Slovo, mercifully doesn't turn him into a plaster saint.
  18. It’s too bad that at the very end L.I.E. settles for an easy, melodramatic resolution; it flies in the face of everything that makes this perceptive, original movie so special.
    • Newsweek
  19. It has a surprising charm.
  20. (There's) a half dozen other deftly sketched show-biz desperadoes who make this slight but tangy sleeper such an unpretentious delight.
  21. Ultimately, one's reservations are overwhelmed by the story's urgency; it's impossible not to be shattered.
  22. The cruelly funny Margot at the Wedding shares many of the virtues of "Squid"--it's psychologically astute, sociologically dead on, refreshingly unformulaic--but it's a considerably tougher, less ingratiating movie. People who insist on likable, "sympathetic" protagonists may find it a bitter pill to swallow.
  23. Flirts throughout with cliches, and some of the more melodramatic plot devices creak at the joints. Still, the potency of this pop romantic can't be denied. [24 Aug 1987]
    • Newsweek

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