Newsweek's Scores

  • Movies
  • TV
For 903 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: 69
Highest review score: 100 Full Metal Jacket
Lowest review score: 0 Meet Joe Black
Score distribution:
  1. Negative: 67 out of 903
903 movie reviews
    • 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.
  1. 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.
  2. 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
  3. A decidedly mixed bag.
    • Newsweek
  4. 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.
  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. The dialogue is tacky, the characters stock and the special effects no improvement on anything George Lucas did 20 years ago.
    • 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.
    • 62 Metascore
    • 50 Critic Score
    As preposterous as the movie gets, it's clearly reveling in its own hokiness.
    • Newsweek
  7. There are some very funny moments, and Coughlan is a delight as Leigh Anne's best friend.
  8. Comes off as surprisingly unmagical, with characters you only half care about.
  9. 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
    • 49 Metascore
    • 50 Critic Score
    Roberts and Gibson form a "pas de deux," two lonely urbanites fighting vague yet common enemies in a plot that never quite comes together.
  10. The theatricality is off the charts. Lane aims for the balconies; Broderick tones it down for the camera a bit.
  11. 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
  12. Technology has squeezed character to a few measly pixels on the digital screens. Explosions have replaced dramatic climaxes.
  13. Labour teeters on the edge of the amateur. Yet it's hard not to root for its moonstruck spirit, or to succumb to the panache of the pastiche.
  14. Quantum of Solace isn't frivolous or cheesy, but it isn't all that much fun either.
    • 31 Metascore
    • 50 Critic Score
    Offers easy wisdom and light-hearted fun.
  15. 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.
  16. 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.
  17. The presence of Connery is pure balm, purring those Celtic tones like smoky single-malt Scotch.
    • 65 Metascore
    • 50 Critic Score
    There's an ample sense of foreboding in Last Night -- but sadly, very little else.
    • 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.
  18. Director Mimi Leder fills the mindless-action-movie quota quite stylishly. The trouble is, The Peacemaker thinks it has a mind.
  19. Just at the point when Alien 3 should kick into high terror gear, it becomes clear that this hushed, somber sequel doesn't know how to deliver the goods. Fincher has style to spare -- and the sets, cinematography and special effects are all first rate -- but the nuts and bolts of storytelling elude him. [1 June 1992, p.73]
    • Newsweek
  20. 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.
  21. There’s a great, piercing story here, but too often you feel you’re watching it through the wrong end of the telescope.
  22. The fans who have kept John Berendt's nonfiction tale on the best-seller list for more than three years may come away feeling they've seen "Perry Mason" on Valium. [1 December 1997, p.87]
    • Newsweek
  23. It has a lovely score by Thomas Newman, stunning production design, striking costumes and gorgeous cinematography. Unfortunately, it just doesn't jell.

Top Trailers