Newsweek's Scores

  • Movies
  • TV
For 898 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: 68
Highest review score: 100 Touching the Void
Lowest review score: 0 Down to You
Score distribution:
  1. Negative: 67 out of 898
898 movie reviews
    • 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.
  1. 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.
  2. W.
    Like all Stone movies, W. has energy and forward momentum--particularly in the pre-presidential sections, when Bush is in his loose-cannon phase. It's not boring, and Brolin is often remarkable.
  3. 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]
    • Newsweek
  4. As a moral fable Click holds no surprises; as a Sandler comedy, it's unusually dark, occasionally touching and pretty funny.
  5. The film seems to want us to pin a medal to its own chest.
  6. Busier, messier and thinner than its predecessor...the studied hipness can get so pleased with itself it borders on the smug.
    • 50 Metascore
    • 60 Critic Score
    We don't really need some young punk to tell us that anarchy is an untenable idea, but watching him live it is an invigorating experience.
  7. 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.
    • 69 Metascore
    • 60 Critic Score
    If the film has a problem, it's that the Farrelly brothers, co-writers and directors, seem content to bunt for long stretches between home runs.
  8. As Good as It Gets works: by the end you'll no doubt be won over by its cranky hero. But for those of us who cherish the quirkily unformulaic Brooks of old, it's a tainted victory.
  9. This may be a less than ideal “Earnest,” but it still has delights, not least of all Anna Massey’s Miss Prism, Cecily’s dotty tutor, and Tom Wilkinson’s Dr. Chasuble, her clergyman admirer.
    • Newsweek
  10. A topical thriller that manages to be watchable despite director Alan J. Pakula's best efforts to take all the fun out of it.
    • 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.
  11. Slightly soggy.
  12. Doubt stirs up a lot of stormy theatrical weather, but the stolid transfer from stage to screen does Shanley's play no favors.
  13. These actresses are always worth seeing in just about anything, as is Tuscany. Together they are able to make up for the meandering plot and lack of dramatic oomph.
  14. When George’s fortunes start to go from bad to worse, so does the movie.
    • Newsweek
    • 54 Metascore
    • 50 Critic Score
    In the end, it's just another novice-teacher-takes-on-inner-city-kids-and-nobody's-life-will-ever-be-the-same film
  15. Self-conscious to the point of suffocation.
    • Newsweek
  16. The storytelling is cheesy, but action fans won't want to miss the debut of the Next Big Thing in martial arts.
  17. Inside this numbingly formulaic action comedy there's a small, quirky movie not screaming hard enough to get out--the kind of movie that director and co-writer Ron Shelton (“Bull Durham,” “Tin Cup”) could have had some real fun with.
    • 33 Metascore
    • 50 Critic Score
    Couldn’t have arrived at a better time: movies have been so bad lately that audiences are positively starving for something mediocre.
  18. There are pleasures to be had in the handsome, heroic The Last Samurai. But they' all on the surface.
  19. But the tale has been squeezed to fit the mold of director John Hughes, which for long stretches makes it feel as much like the third "Home Alone" as the second "Dalmations."
  20. Resoundingly so-so.
  21. In the end, artifice overwhelms art. Apt Pupil is too serious to work as a genre movie, and too contrived to be taken seriously. [12 October 1998]
    • Newsweek
  22. It's sometimes hard to tell the characters from the candelabra. This lavish screen version of Andrew Lloyd Webber's musical is so chockablock with decorative detail the human figures are often competing with the decor for attention.
  23. Harron sets the stage expertly, but her lack of a point of view ultimately enervates the movie. [6 May 1996, p. 78]
    • Newsweek
    • 51 Metascore
    • 50 Critic Score
    A slick but surprisingly empty genre movie that builds to a not particularly shocking shock.

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