Newsweek's Scores

  • Movies
For 892 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 7.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Million Dollar Baby
Lowest review score: 0 Meet Joe Black
Score distribution:
  1. Negative: 67 out of 892
892 movie reviews
  1. Ray
    It's hobbled by the too-familiar conventions of the musical biopic: with so many chapters of Charles's life to cover, Hackford's movie never finds a rhythm, a groove, to settle into. It wins its battles without winning the war.
  2. Ridiculous, and oddly unforgettable.
  3. Busier, messier and thinner than its predecessor...the studied hipness can get so pleased with itself it borders on the smug.
  4. Spanglish feels hemmed in, visually monotonous. There are signs that a lot has been cut, and in trimming his film Brooks may have squeezed too tight: his movie needs breathing space.
    • 68 Metascore
    • 60 Critic Score
    Once Fletcher starts telling the truth against his will, the movie delivers some perfect laughs.
    • 59 Metascore
    • 60 Critic Score
    For all the enhanced ingenuity of the special effects in The Lost World, the element of surprise and originality (the idea of cloning dinosaurs from fossilized DNA) is no longer present. And screenwriter David Koepp (the movie is very loosely based on Michael Crichton's sequel to his novel "Jurassic Park") has come up with a pretty conventional story line.
    • 67 Metascore
    • 60 Critic Score
    Beautifully appointed, fairly bursting with splendid sets and divine costumes, but it ultimately fails to capture the essence of Wilde's airy wit.
    • 46 Metascore
    • 60 Critic Score
    Through the laughter, though, there is real empathy for the characters. It's a light-hearted movie.
  5. A romantic comedy for an era of diminished expectations.
  6. The film seems to want us to pin a medal to its own chest.
  7. The good news about the amiable but only partly satisfying Tin Cup is that it frees Kevin Costner from playing a monument and restores to us the loose, sparkling comic actor he used to be. [19 August 1996, p.66]
    • 52 Metascore
    • 60 Critic Score
    Robert Rodriguez's second effort is a funny, craftily written piece of low-grade horror crapola.
    • 60 Metascore
    • 60 Critic Score
    Holes in the script cause the narrative to burp at times.
  8. Andy Tennant's flimsy but generally likeable comedy is tailor-made for Smith's cheerfully suave comic style, and the movie goes out of its way to avoid any hint of sleaziness.
    • 64 Metascore
    • 60 Critic Score
    Inside Deep Throat is more scattershot than deep, but it vividly evokes the days when the "sexual revolution" was supposed to liberate the American libido.
  9. Peaks early, then descends into portentous nonsense.
  10. Fails to rouse any passion. A potentially great subject is frittered away, though this being a Scott movie, there's style to spare.
  11. As long as it stays focused on showbiz, Bewitched is light, frothy fun. But Ephron insists on turning Bewitched into a love story, and that's when the fun starts to seep out of the movie.
  12. A topical thriller that manages to be watchable despite director Alan J. Pakula's best efforts to take all the fun out of it.
  13. This fragile, precious chamber piece, co-written with Susan Minot, rarely seems worthy of the high style lavished upon it. [24 Jun 1996 Pg.83]
  14. It's an expertly made film that, scene by scene, holds your attention. But both emotionally and intellectually, it doesn't add up.
  15. This Man in Black is, frankly, a bit of a wuss. As a love story, Walk the Line can seduce. As a biopic, it treads awfully familiar Overcoming Adversity turf.
  16. This scary, eye-opening documentary looks back from a post-9/11 vantage point to see how Ike’s prophecy has come horribly true.
  17. The demands of the historical epic form seem to hobble Jordan's imagination. He's a director who's at his best when he can follow the dark logic of his own subconscious.
  18. Pitched too broadly to get very deeply under your skin. Still, there are some smarts at work here, and it will make you laugh.
  19. As a moral fable Click holds no surprises; as a Sandler comedy, it's unusually dark, occasionally touching and pretty funny.
  20. Nightmarish scenes are intercut with interviews with the real men. These could be more probing, and the film's urgency can tilt toward shrillness, but nobody else has made the disaster of Guantánamo so painfully vivid.
  21. When the satire stays focused on Streep or her snooty Brit assistant (Emily Blunt), "Prada" is malicious fun. But the central story about how smart, idealistic Anne Hathaway, as Miranda's drably dressed new assistant, loses her soul in pursuit of success and great shoes is dramatically anorexic.
  22. Shortbus tends to work better in its first, comic half, than in its second, more serious stretch, where the characters' trials and tribulations flirt with soap opera. The actors, formidable with their clothes off, aren't always as expressive fully dressed.
    • 63 Metascore
    • 60 Critic Score
    Depp attacks his role with relish, stamping his boot heels and recounting improbable erotic adventures in a wonderful Castilian lisp. Unfortunately, Depp's the only one flying over this cuckoo's nest. [24 Apr 1995, p.64]

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