Newsweek's Scores

  • Movies
  • TV
For 1,095 reviews, this publication has graded:
  • 58% higher than the average critic
  • 3% same as the average critic
  • 39% lower than the average critic
On average, this publication grades 4.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Spider-Man 2
Lowest review score: 0 Down to You
Score distribution:
1095 movie reviews
  1. Using shadows and strikingly designed sounds, Pellington skillfully creates an atmosphere of otherworldly, invisible menace. Gere and Linney, both solid, dance around the edges of a romance.
    • Newsweek
  2. The saving grace of Con Air is its sense of its own absurdity.
  3. The Fog needs more suggestive magic to sustain its farfetched premise. There's no doubt that Carpenter has talent to spare, but he's misjudged his gifts this time. The Fog ought to come on little cat feet, but its tread is heavy and literal. The harder it tries, the sillier it gets. [03 March 1980, p.68]
    • Newsweek
    • 52 Metascore
    • 70 Critic Score
    A warm-hearted romp that will leave you smiling -- and strutting.
    • 52 Metascore
    • 70 Critic Score
    For all its retro design, Spirit actually represents a delicate marriage of the hand and the computer.
    • Newsweek
  4. What makes you giggle your way through much of the movie isn't the jokes--Jonathan Gems's script is surprisingly feeble, and Burton's comic timing is often flat-- but the sheer, oddball chutzpah of it all. [23 Dec 1996]
    • Newsweek
  5. Unlike some other Landis movies, the harmlessly silly Three Amigos never wanders too far afield in pursuit of a laugh. It's a well-wrought giggle machine. [15 Dec 1986, p.83]
    • Newsweek
  6. The end is predictable after the first five minutes (two, if you're smart), but the film sucks you in all the same.
    • 52 Metascore
    • 30 Critic Score
    Neil LaBute’s Possession is bad, but not spectacularly bad, which is disappointing.
    • Newsweek
  7. A fanciful, featherweight, mostly charming concoction predicated on the old romantic myth that there is one true soul mate out there for us all.
    • Newsweek
    • 52 Metascore
    • 80 Critic Score
    The plot is predictable, but the frights are real.
    • 52 Metascore
    • 50 Critic Score
    The main problem is the script, which has a few scares but little smarts.
  8. Droll, sweet-tempered and lackadaisical, it's a shaggy-dog story with Nicholson playing the shaggy dog. It turns Western conventions on their heads not out of satirical anger but simply to charm the pants off the audience. A little less coyness, and a lot more John Belushi (as a Mexican deputy), would have helped. Still, at a time when most comedy comes straight out of the bathroom, the quirky, civilized pleasures of Nicholson's film are not to be sneezed at. [09 Oct 1978, p.94]
    • Newsweek
  9. Builds dread masterfully, but don't expect solace or "fun." This is not for those who like mysteries neatly resolved.
  10. Jaw 2 is not a shipwreck of a movie; it'll make you jump now and then, like a boring guy tickling your ribs. But it lacks the style and intelligence that director Steven Spielberg brough to the original "Jaws". Jennot Szwarc, a French-born teveision specialist, come nowhere near Spielberg's blend of kinetic drive and comic touch. [19 June 1978, p.74]
    • Newsweek
  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. A good half hour too long, and badly in need of some scares, Hook is a huge party cake of a movie, with too much frosting. After the first delicious bite, sugar shock sets in.
  13. Stone creates such a sizzling, raunchy, vital world that the cliches almost seem new.
  14. Eastwood is at his effortless, slyboots best and the film is as preposterous as it is delightful.
  15. The theatricality is off the charts. Lane aims for the balconies; Broderick tones it down for the camera a bit.
  16. When George’s fortunes start to go from bad to worse, so does the movie.
    • Newsweek
    • 52 Metascore
    • 70 Critic Score
    There's plenty of bravura camera work and two terrific supporting turns from Carla Gugino, as a terrified key witness, and Stan Shaw, as the soul-searching heavyweight champ. De Palma didn't hit the jackpot here, but he certainly didn't roll snake eyes.
  17. You cheer the good guys, gasp at the cliffhangers, hiss the villains and leave the theater with an old-fashioned sense of satisfaction. It may not be great filmmaking -- it's certainly not for purists -- but it's definitely good fun. [24 June 1991, p.60]
    • Newsweek
  18. It's ersatz classicism, in its inoffensive way as much a dead end as Stardust Memories. Allen seems to be biding his time, waiting for the "real" Woody Allen to figure out what a real Woody Allen movie will be. [19 July 1982, p.70]
    • Newsweek
  19. Barring one dreadfully trumped-up climactic scene, they've managed to avoid the usual asylum-movie cliches.
    • Newsweek
    • 51 Metascore
    • 30 Critic Score
    An empty videogame of a movie about interplanetary pest control.
  20. 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.
    • 51 Metascore
    • 80 Critic Score
    Mary Rodgers's screenplay, based on her novel, supplies enough faintly Freudian undertones to pique a grownup's interest even further. Try to imagine how Annabel Andrews, a 13-year-old tomboy, must feel when she finds herself with a mature figure and a husband she suddenly starts calling "Daddy," and you begin to get the idea. [28 Feb 1977, p.72]
    • Newsweek
    • 51 Metascore
    • 40 Critic Score
    May only be remembered for featuring the first homoerotic nude bathing scene in children's animated movie history.
    • 51 Metascore
    • 50 Critic Score
    A slick but surprisingly empty genre movie that builds to a not particularly shocking shock.

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