Newsweek's Scores

  • Movies
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 6.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Dreamgirls
Lowest review score: 0 Meet Joe Black
Score distribution:
  1. Negative: 67 out of 895
895 movie reviews
  1. Unfortunately, this narf's a drag: she talks like a fortune cookie and doesn't really do anything. Still, the multicultural cast is fun, the images have a painterly beauty and there are some beguiling comic touches before the story sinks into a swamp of solemn metaphysical glop.
  2. 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.
  3. Alternately enrapturing and exhausting, brilliant and glib, this is a "Romeo and Juliet" more for the eyes than the ears. [4 Nov 1996, pg.73]
    • Newsweek
  4. I might buy Babel if it had any real interest in its characters, but it's too busy moving them around its mechanistic chessboard to explore any nuances or depths.
  5. 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.
  6. Attempting a frame-by-frame duplication of Warner Bros. '40s filmmaking--even the extroverted acting style apes the period--Soderbergh has produced a movie so self-conscious that it's drained of all life.
  7. The longest, grimmest and least funny of the trilogy.
  8. 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.
    • 53 Metascore
    • 50 Critic Score
    Too bad the film ultimately fails to explore [provocative questions], falling instead to cliches.
  9. The storytelling seems occasionally disjointed, but more important, for all the special-effects wizardry, that touch of film magic never surfaces.
  10. If only the laughs were bigger, smarter and more frequent than they are.
  11. Aims for a "Princess Bride" mix of whimsy and wonderment, the sardonic and the romantic, with only sporadic success. Both visually and narratively cluttered, the film diverts more than it enchants.
  12. Penn's eye for landscapes is stunning, and his affection for outsider lifestyles is tangible. Hirsch, who carries the film on his increasingly emaciated shoulders, performs heroically, but there's an edge missing. The ideal casting would have been the young Sean Penn.
  13. There’s a great, piercing story here, but too often you feel you’re watching it through the wrong end of the telescope.
  14. Manages to take an urgent, important topic and turn it into standard Hollywood melodrama. What a waste.
  15. The semifunny Semi-Pro is amiable enough, but you never feel there's much at stake.
  16. The great '30s comedies had edge, bite and relentless forward momentum. Leatherheads is laid-back, amiable and terminally tepid.
  17. Baby Mama is rescued by two scene-stealing veterans: Sigourney Weaver as the smug, patrician owner of the surrogate company, and a priceless, ponytailed Steve Martin as the self-infatuated New Age owner of Round Earth. These two aren't onscreen a lot, but the movie seems most fully alive when they are.
  18. There's a quirky, honest movie struggling to emerge from Then She Found Me (April's Jewish heritage is refreshingly portrayed, and there are lovely, scattered moments when the characters surprise you), but Hunt, in her directorial debut, can't seem to decide whether she'd rather make a spicy ethnic dish or bland comfort food.
    • 62 Metascore
    • 50 Critic Score
    The more obvious special effects are downright hokey, such as a weird swirling water creature who looks like something out of a toilet cleaner commercial. As the outcome of all the sword-flinging and catapult-launching is never in question, it's hard to stay engaged with the movie once the fighting begins.
  19. 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.
  20. Wanted has one good plot twist in store (though it makes little sense), and its sense of humor about its own silliness keeps the fantasy afloat for a while. But as the body count rises, so does the portentous tone, and the relentlessness of Bekmambetov's overamped style becomes oppressive.
  21. I don't want to sound like a party pooper (or deny that there is something wickedly funny about seeing these middle-age adolescents beating the crap out of a playground full of little bullying kids) but there's something depressing about the never-ending celebration of eternal adolescence in recent American comedies.
  22. Quantum of Solace isn't frivolous or cheesy, but it isn't all that much fun either.
  23. Doubt stirs up a lot of stormy theatrical weather, but the stolid transfer from stage to screen does Shanley's play no favors.
  24. How do you literalize heaven? It's a problem moviemakers have struggled with forever, and Jackson hasn't solved it.
  25. An ambitious, intense, but overdetermined exploration of the varieties of ethnic intolerance.
  26. No matter how important teamwork is on a job of industrialized entertainment like these ostensibly visionary films, the vision itself has to come from a single inspired sensibility. Despite some intriguing ideas, episodes and effects, that isn't the case with "Star Trek." [17 Dec. 1979, p.110]
    • Newsweek
  27. 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
  28. It succeeds in bringing O'Barr's comic-book vision to life, but there's little else going on behind the graphic razzle-dazzle and the moody, ominous soundtrack.

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