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 6.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 68
Highest review score: 100 Barton Fink
Lowest review score: 0 Meet Joe Black
Score distribution:
  1. Negative: 67 out of 895
895 movie reviews
  1. Robbins eschews leftist diatribes for a bold cartoon version of history. It's as crowded and energetic as a big parade...and just about as subtle.
    • Newsweek
  2. Maybe you have to be 14 to find all of this terribly clever.
    • Newsweek
    • 51 Metascore
    • 40 Critic Score
    May only be remembered for featuring the first homoerotic nude bathing scene in children's animated movie history.
  3. It's not just that the movie is formulaic; it's disingenuous. It relies on Roberts's smile to erase all misgivings. But all the stardust in the world can't disguise the fact that this is more package than picture.
    • 55 Metascore
    • 40 Critic Score
    It's a little late to be spoofing Westerns, and most of the high-noonery in BTTF III falls flat. [4 June 1990, p.82]
    • Newsweek
  4. Onstage, trapped in the mini-wasteland of the parking lot, the creeped-out kids crackled like lightning in a bottle. Linklater's meager attempts to open up the movie drain its energy.
  5. It's a gorgeous bad movie, the folly of a great visual stylist.
  6. Too facile to resonate deeply. Shouldn't a movie celebrating Nash give you some idea what his mathematical work is about? Fishier still is the suggestion that the cure for paranoid schizophrenia is love.
    • Newsweek
    • 38 Metascore
    • 40 Critic Score
    BASEketball feels stale and inert. Still, Parker and Stone have a nice, giddy rapport, and it's a kick to hear traces of Cartman and Kenny in their dude-speak.
    • 44 Metascore
    • 40 Critic Score
    A noble but supernaturally dull movie.
  7. O
    The actors attack their roles with commitment (Hartnett’s understatement is impressive), but their fervor can’t hide the movie’s implausible, often confusing storytelling.
  8. The most interesting thing about Beowulf, alas, is its technology. It's the work of a man who has fallen in love with his toys, but I miss the wicked satirist who made "Used Cars." And the truth is the motion capture in Beowulf comes across as an unsatisfying compromise between animation and live action.
    • 54 Metascore
    • 40 Critic Score
    Kill is a disappointing movie: slow, overpopulated and muddled in its thinking.
  9. This stiff-in-the-joints movie has little feel for its setting or period, and crucial chunks seem to have been left on the cutting-room floor. Robert Rossen's Oscar-winning 1949 version has nothing to fear.
    • 55 Metascore
    • 40 Critic Score
    There are no ideas, just repartee. Snoop Dogg, as a superfly snitch, and Vince Vaughn, as a drug lord, are wasted in obvious supporting roles. It's harmless fun--and too lazy to be more.
  10. Torn between moody grandiosity and cartoonish mayhem, Daredevil tries to have it both ways, and succeeds at neither.
    • 61 Metascore
    • 40 Critic Score
    An over-the-top thriller, too loosely tethered to reality to be a lesson about anything other than the limits of popcorn consumption.
  11. This is an elaborate production, but all the jazzy sets and explosions in the world can't disguise the story's complete lack of urgency.
  12. Spielberg doesn't differentiate between the good ideas in the script and the bad ones: everything is given an emphatic, production-number treatment... His ultraslick, seductive technique can be a pleasure to watch in itself, but it can't disguise the fact that "Always" is a decidedly uneternal fantasy. [1 Jan. 1990, p.60]
    • Newsweek
  13. There's an inspirational, hang-on-to-your-dreams message, but it comes only at the very end of a long, grim, painful journey. Holiday cheer is not what this movie is offering.
  14. if you're trying to make us believe we're watching "reality" by using a faux documentary style, you need actors who never look like they are acting, and this is where Redacted stumbles.
    • 86 Metascore
    • 40 Critic Score
    In the end, the film lacks the skill of its actors and ends up feeling disjointed and confused about its own message.
  15. Von Trier, however, undercuts the universality of his own message with his meretricious closing credits, set to David Bowie's "Young Americans," which explicitly turns Dogville into an anti-American screed.
    • 62 Metascore
    • 40 Critic Score
    The movie plays like a clumsy assault on post-9/11 paranoia. It references "America's war," uses imagery direct from Abu Ghraib and contains dialogue likely to offend anyone who's not, say, a suicide bomber.
  16. Newell, no hack, tries not to milk the cliches shamelessly, and that may be the movie's final undoing. Lacking the courage of its own vulgarity, Mona Lisa Smile is as tepid as old bathwater.
  17. This is a movie afraid of its own shadows.
    • Newsweek
  18. All the state-of-the-art technology in the world is no help to an actor saddled with Lucas's tinny dialogue.
    • 38 Metascore
    • 40 Critic Score
    A mish-mash of special effects, tasteless comedy and pointless action.
  19. The entire solemn, portentous edifice that is The Village collapses of its own fake weight. Just about everything that makes Shyamalan special misfires here.
    • 56 Metascore
    • 40 Critic Score
    Speaking as an admirer, but not an apostle, of the graphic novel, I thought the Watchmen movie was confusing, maddeningly inconsistent and fighting a long, losing battle to establish an identity of its own.

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