Newsweek's Scores

  • Movies
  • TV
For 980 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 5.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 When We Were Kings
Lowest review score: 0 Book of Shadows: Blair Witch 2
Score distribution:
  1. Negative: 74 out of 980
980 movie reviews
    • 46 Metascore
    • 90 Critic Score
    Dr. Dolittle is a zoo-and a blast. [6 July 1998, p. 67]
  1. This is a movie afraid of its own shadows.
    • Newsweek
  2. Trying for a tone somewhere between an art film, an absurdist comedy, a horror movie and an old Saturday-matinee serial, he's made a handsome, cripplingly self-conscious thriller that's devoid of any real thrills. [3 Feb. 1992, p.65]
    • Newsweek
    • 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.
    • 46 Metascore
    • 70 Critic Score
    Refreshingly, the movie doesn't treat you like a moron who needs to be told which woman to root for. If Ben has to choose, why shouldn't you?
    • 46 Metascore
    • 60 Critic Score
    Through the laughter, though, there is real empathy for the characters. It's a light-hearted movie.
    • Newsweek
  3. You know a romantic comedy is in trouble when you root for the hero not to get the girl.
    • Newsweek
    • 45 Metascore
    • 60 Critic Score
    May be formulaic...but many good recipes are.
  4. Ferocious and sometimes creepily funny, Bully is a raunchy suburban "Crime and Punishment."
  5. 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.
  6. This slick, handsomely produced thriller only gets the pulse half racing.
    • Newsweek
  7. 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
  8. There's almost nothing you haven't seen before in this slick, preposterous, but occasionally exciting thriller. An angry Ford absorbs, and dishes out, massive punishment for a fellow his age, while Virginia Madsen is sadly wasted as his wife.
  9. 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.
  10. Pitched too broadly to get very deeply under your skin. Still, there are some smarts at work here, and it will make you laugh.
  11. As a moral fable Click holds no surprises; as a Sandler comedy, it's unusually dark, occasionally touching and pretty funny.
  12. It's gorgeous. It's epic. It's spectacular. But two hours later, it also proves to be emotionally impenetrable.
  13. It's all kept light and funny, but underlying the broad sight gags is a movie that actually has something to say about competition, fathers and sons, machismo and caffeine.
  14. Guts, wit and soul, these suburban kids have it all: Babysitting outdoes even John Hughes in flattering its target audience, and for this it will doubtless be amply rewarded. [13 July 1987, p.60]
    • Newsweek
  15. But if the endpoint is a homiletic given, the journey itself is more charming, and less sentimental, than you might suspect.
  16. We've seen it all before and such familiarity kills impact.
  17. Jones even manages to save this somewhat tiring film.
  18. Attempting a slapstick satire of suburban paranoia and xenophobia, Dante lavishes his considerable skills on a one-note, repetitive Dana Olsen screenplay which, at best, contains enough invention for a 20-minute skit. [06 Mar 1989, p.58]
    • Newsweek
    • 44 Metascore
    • 70 Critic Score
    The plotting could use some finessing, but fine acting makes this film worthwhile.
    • 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.
  19. Ninety minutes into this massive movie the attack commences, and the spectacular images come hurtling like fireballs. This is, let's be honest, what we're here for, and what most Jerry Bruckheimer-produced movies serve up best: the poetry of destruction.
    • 44 Metascore
    • 50 Critic Score
    Charming cinematic bauble.
  20. 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.
    • 44 Metascore
    • 80 Critic Score
    A highly entertaining movie in a genre that is often as stiff as the Lady Gibson's boning.
  21. That this relentless barrage of psychological and physical torture is extremely well made and powerfully performed--Watts hurls herself into her physically demanding role with heroic conviction--somehow makes it worse.

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