Newsweek's Scores

  • Movies
For 894 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 6.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Hoop Dreams
Lowest review score: 0 Meet Joe Black
Score distribution:
  1. Negative: 67 out of 894
894 movie reviews
  1. There isn't an ounce of genuine affection on display. Fenton and Barbato already made a documentary of the same title about Alig, and their fascination with this vapid, charmless pied piper of decadence remains a mystery.
    • 65 Metascore
    • 50 Critic Score
    There's an ample sense of foreboding in Last Night -- but sadly, very little else.
  2. Hughes is just treading lukewarm water. Stotz is the blandest of his teen heroes yet. [16 Mar 1987]
    • Newsweek
    • 51 Metascore
    • 50 Critic Score
    A slick but surprisingly empty genre movie that builds to a not particularly shocking shock.
    • 36 Metascore
    • 50 Critic Score
    Provides some great laughs, but founders when it tries to tackle more serious issues. Entitled "10 Dates," it might have been a much better film.
    • 39 Metascore
    • 50 Critic Score
    The film has its dumb points: too many shots of churning surf and lovers nestled in beach blankets, not to mention the premise that women find incommunicative, hulking shells like Blake the height of irresistibility. But it gets you.
  3. Before it degenerates into Indiana Potter and the Chamber of Doom, the movie holds promise -- it hints at why the Harry Potter movies aren’t half as wonderful as they ought to be, why they feel created from the outside in. Magic isn’t made by committee.
    • Newsweek
  4. Resoundingly so-so.
  5. A flat, cliched film in a flat, cliched genre.
  6. Why does this chronicle of a passionate life refuse to catch fire? For all of Taymor’s flashy embellishments -- surreal dream sequences, constructivist collages come to life -- it trudges through the Kahlo chronology with the dutiful step of a conventional Hollywood biopic.
  7. 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.
  8. There are inspired moments in this edgy, unstable comedy.
  9. Comes off as surprisingly unmagical, with characters you only half care about.
    • 46 Metascore
    • 50 Critic Score
    Payback may not always be P.C., but it's not interested in making friends, anyway. Just killing enemies.
    • 70 Metascore
    • 50 Critic Score
    While the first half showcases an impressive new directorial talent, the last two quarters fail to score.
  10. A decidedly mixed bag.
    • Newsweek
    • 46 Metascore
    • 50 Critic Score
    It does justice to its source material -- and that may be the problem.
  11. 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.
  12. Strikingly devoid of suspense. It’s not always clear who’s the protagonist and who’s the antagonist. Nor is it scary—at its most intense moments, it’s merely yucky.
    • Newsweek
  13. Slightly soggy.
    • 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.
  14. This is one of the silliest movies ever made--and lots of instantly forgettable fun.
  15. It’s not half bad, with cool locations and a great stunt leap from the top of a Hong Kong high-rise.
  16. 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
  17. There are pleasures to be had in the handsome, heroic The Last Samurai. But they' all on the surface.
  18. Demme is understandably reluctant to linger on the horrors of slavery, but it's a dramaturgical mistake. The quick, shocking flashbacks of Sethe's brutalization by her white masters don't do the job--they're horrific, but with a B movie luridness.
    • 41 Metascore
    • 50 Critic Score
    Shot in crisp black and white, this homage to "La Dolce Vita" nonetheless lacks the charm and energy of Fellini's farcical original.
  19. Instead of being moved by Christ's suffering, or awed by his sacrifice, I felt abused by a filmmaker intent on punishing an audience, for who knows what sins.
    • 52 Metascore
    • 50 Critic Score
    The main problem is the script, which has a few scares but little smarts.
  20. Along the way, not just the storytelling but the original intention has gotten muddled. You leave The Alamo uncertain of what you're meant to feel: is this a celebration of patriotic sacrifice or an illustration of war's futility?

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