Newsweek's Scores

  • Movies
  • TV
For 899 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: 69
Highest review score: 100 Barton Fink
Lowest review score: 0 Down to You
Score distribution:
  1. Negative: 67 out of 899
899 movie reviews
  1. If the film has a problem, it's a kind of excess of goodness at the expense of imaginative excitement. The real hero is the psychiatrist, played with a riffing Jewish beat by Hirsch as a counterpoint to the tight Wasp rhythms of Conrad's family. There's a feeling of therapy more than revelation, but perhaps for our multifariously sick society therapy has become revelation. This seems to have been a major point in Guest's novel, and Redford has dramatized it with integrity, honor and compassion. [22 Sept 1980, p.76]
    • Newsweek
  2. The movie is, from start to finish, a hoot... Both a savvy satire of smalltown boosterism and an affectionate salute to the performing spirit. [10 Feb 1987, p.66]
    • Newsweek
  3. This is humanism in drag: Almodovar's passionate redefinition of family values.
    • Newsweek
    • 55 Metascore
    • 90 Critic Score
    Mimic is undoubtedly the best mutant-cockroach horror thriller ever made. Even granting that there hasn't been much competition, this is intended as a high compliment.
  4. A delightful surprise... Jewison does his best work in decades. [21 Dec 1987]
    • Newsweek
  5. Few films have shown so powerfully the slashing double edge of sports fever.
  6. Loach hurls us into the fracas, circa 1920, and creates such a vivid sense of the nuts and bolts of guerilla war you almost forget you are watching a period piece. Unlike the epic sweep of Neil Jordan's "Billy Collins," which spoke in a syntax closer to Hollywood's, "The Wind" doesn't paint over its political arguments with a patina of nostalgia.
  7. It has the stately, well-crafted anxiety of a Hitchcock movie, except that the protagonist and antagonist are one and the same.
    • Newsweek
  8. A demonstration of bravura acting.
    • Newsweek
  9. All this is good fun -- some of which is anticipating the pained reaction from conservative Hollywood-hasslers. Director Rob Reiner has a fine smooth touch, Douglas is charismatic, Bening is scrumptious -- you want to put all these dream politicos in a doggy bag and take them home. [20 Nov 1995, p.28]
  10. Succeeds stunningly on its own terms.
  11. Eastwood tells his haunting, sorrowful saga with such a sure, steady hand, only a very hardened cynic could fail to be moved.
  12. Zaillian's meaty movie, at once bleak and hopeful, speaks volumes about the maddening distance between justice and the justice system.
  13. One of the year's best: a rich, funny, enormously humane portrait of a middle-class Taipei family in the throes of romantic, economic and spiritual upheaval.
    • 71 Metascore
    • 90 Critic Score
    A surpassingly sweet, funny and picturesque movie.
  14. Never less than engaging; all that’s missing is a proper crescendo. The picture moves along briskly, even at two and a half hours, but it seems to be running on cruise control.
    • 71 Metascore
    • 90 Critic Score
    It's the characterization of Mulan, both in voice and visuals, that makes the film a keeper.
  15. What keeps you in your seat is the acting. Keener, crisply and coolly playing against type, commands the screen. [24 August 1998, p. 58]
    • Newsweek
  16. Luhrmann has raised the level of his game, deconstructing the Hollywood musical -- a genre all but left for dead -- and reassembling it with a potency that hasn’t been seen since “Cabaret.”
    • Newsweek
    • 76 Metascore
    • 90 Critic Score
    Takes the prize. It's a bloody hoot.
  17. Crazy Heart gets to you like a good country song--not because it tells you something new, but because it tells it well. It's the singer, not the song.
  18. Their (Murray/Johansson) brief, wondrous encounter is the soul of this subtle, funny, melancholy film.
  19. In every detail - the superb soundtrack, the rich cinematography, the dinstinctively edgy editing - Rain Man reveals itself as a movie made with care, smarts, and a refreshing refusal to settle for the unexpected. [19 Dec 1988]
    • Newsweek
  20. Junky, freaky, sadistic, masochistic, Mad Max has a perverse intelligence revving inside its pop exterior. It's a crazy collide-o-scope, a gear-stripping vision of human destiny careening toward a cosmic junkyard. [21 July 1980, p.71]
    • Newsweek
  21. A terrific piece of work: smart, inventive and executed with state-of-the-art finesse.
    • Newsweek
  22. Vertical Ray slows our rhythms and heightens our senses: it's a shimmering, tactile experience.
  23. Marvin's taciturn performance--a moving demonstration of masculine grace under pressure--may be his finest.
  24. As a "Revenge of the Nerds" redux, Superbad isn't perfect. But it's super close.
  25. The eroticism in Cuaron’s road movie (which broke all box-office records in Mexico) is the real deal: tactile, sexy, psychologically charged.
    • Newsweek
  26. Puiu's is the art of the seemingly artless: he takes a story that's utterly unglamorous and mundane, and transforms it into something mythic.

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