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 Spider-Man 2
Lowest review score: 0 Meet Joe Black
Score distribution:
  1. Negative: 67 out of 894
894 movie reviews
  1. We've seen it all before and such familiarity kills impact.
    • 54 Metascore
    • 40 Critic Score
    Kill is a disappointing movie: slow, overpopulated and muddled in its thinking.
    • 66 Metascore
    • 40 Critic Score
    Ultimately, this is a war of boorishness vs. sensitivity, and the filmmakers waffle.
  2. But Die Hard WAV lacks the freshness of its two predecessors: we've had it with gassy police psychiatrists and supersmart terrorists.
    • 54 Metascore
    • 40 Critic Score
    Trying too hard to grab our attention, he (Marshall) loses it. The art of the geisha prizes subtlety, stillness, grace. Why doesn't this movie?
    • 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. In this distressingly generic spy spoof, it's not Maxwell who's clueless, but the filmmakers.
    • 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.
    • 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
  8. The Wrath of Khan is a small soap opera about a man coming to terms with age and death and a son he had never acknowledged. It's really "On Golden Galaxy," and it would have made a lot more sense as a modestly produced hour of television. [7 June 1982, p.53]
    • Newsweek
  9. 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
  10. A good half hour too long, and badly in need of some scares, Hook is a huge party cake of a movie, with too much frosting. After the first delicious bite, sugar shock sets in.
  11. Howard's fifth movie is a keen disappointment. Clever moments and bittersweet touches aside, it leaves you wishing a modern-day Preston Sturges had written the script. [17 Mar 1986, p.82]
    • Newsweek
  12. Everything in Rounders is right there on the surface. Watching it is about as exciting as playing poker with all the cards face up. [14 Sept 1998]
    • Newsweek
  13. So bland and un-lived in you want to pour Tabasco all over the screen.
    • 36 Metascore
    • 30 Critic Score
    Rapidly veers towards tired 80's territory rather than offering anything new and fresh.
    • 32 Metascore
    • 30 Critic Score
    A half-hearted comedy whose jokes are far from a knockout.
  14. Bad, but not criminally so.
  15. This is a farfetched premise, and the movie pays a price for it.
    • Newsweek
  16. All shots and no scenes, which is nice for a picture book but deadly for drama.
    • 43 Metascore
    • 30 Critic Score
    Despite some funny lines and situations, this comedy falls short.
  17. A lumbering, self-important three-hour melodrama that defies credibility at every turn.
    • Newsweek
  18. Every role is miscast. Whose idea was it to have the boyishly British Bale play an illiterate Greek peasant, or the elegant Hurt a gruff-voiced country doctor? Cruz’s run of bad luck in American movies continues.
  19. This echo of the WWII internment of Japanese-Americans is the only new gimmick in Edward Zwick's entry in the cliche- terrorist genre.
    • 52 Metascore
    • 30 Critic Score
    Neil LaBute’s Possession is bad, but not spectacularly bad, which is disappointing.
    • Newsweek
  20. Flat, distressingly witless -- To put it bluntly -- the thrill is gone. Nobody did it better. But that was then.
    • Newsweek

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