Newsweek's Scores

  • Movies
  • TV
For 895 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 Star Wars: Episode V - The Empire Strikes Back
Lowest review score: 0 Meet Joe Black
Score distribution:
  1. Negative: 67 out of 895
895 movie reviews
  1. It's filled with Mann's signature macho verisimilitude, but essentially it's the stuff of what, in saner fiscal times, would have been a B movie. Miami Vice delivers the thrills, atmosphere and romance it promises, but it doesn't resonate like major Mann.
  2. 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
  3. Sometimes stunning, ultimately stupefying epic .
  4. Soft to the point of squishiness, Phenomenon is rescued from terminal bathos by Travolta's radiant conviction.
  5. 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.
  6. Mangold is something of a pseudo-Scorsese, assembling elements of other pictures like "Internal Affairs" and "Bad Lieutenant" into an eclectic mix that lacks its own vital reality.
    • 44 Metascore
    • 50 Critic Score
    Charming cinematic bauble.
  7. This slick, handsomely produced thriller only gets the pulse half racing.
    • Newsweek
  8. A style so chic, studied and murky it resembles a cross between a Nike commercial and a bad Polish art film.
  9. Hughes is just treading lukewarm water. Stotz is the blandest of his teen heroes yet. [16 Mar 1987]
    • Newsweek
  10. A flat, cliched film in a flat, cliched genre.
  11. 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?
  12. 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.
  13. Lurching uncertainly from slapstick to tears, The Family Stone works hard to warm the cockles of our hearts. The cast is attractive. The sentiments are commendable. But the love Bezucha wants us to feel for the family couldn't possibly compete with the love they already feel for themselves.
  14. Never mean-spirited, A Dirty Shame has some big laughs, but it's a one-joke movie that shows its strain well before the finish line.
    • 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.
    • 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.
  15. The semifunny Semi-Pro is amiable enough, but you never feel there's much at stake.
  16. For me, there's a problem with The Hulk, always has been, though it hasn't seemed to bother the tale's legions of fans. When the sensitive, physically unprepossessing Banner/Norton turns into the gargantuan, muscle-bound, growling Hulk, there's a total disconnect.
  17. 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
  18. 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.
  19. Manages to take an urgent, important topic and turn it into standard Hollywood melodrama. What a waste.
  20. This is one of the silliest movies ever made--and lots of instantly forgettable fun.
    • 35 Metascore
    • 50 Critic Score
    There is too much disconcerting and nasty violence in this light-hearted caper, but when it sticks to its romantic guns, it is often charming.
  21. You're not sure where it's headed, but with an ensemble this good the aimlessness seems invigorating. It's when the plot kicks in that Newell's movie gets less interesting. It's frustrating to see such a promising premise, and such a delightful cast, wasted.
  22. Spielberg has gone to such lengths to avoid boredom that he has leaped squarely into the opposite trap: this movie has such unrelenting action that it jackhammers you into a punch-drunk stupor. This may be the first movie whose audience O.D.'s on action. [4 June 1984, p.78]
    • Newsweek
  23. A decidedly mixed bag.
    • Newsweek
  24. 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.
  25. You don't have to have lived through the period to find this wrenching. And you don't have to doubt Estevez's sincerity to find it emotionally opportunistic.
  26. The dialogue is tacky, the characters stock and the special effects no improvement on anything George Lucas did 20 years ago.

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