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 The People vs. Larry Flynt
Lowest review score: 0 Meet Joe Black
Score distribution:
  1. Negative: 67 out of 894
894 movie reviews
    • 68 Metascore
    • 30 Critic Score
    The film suffers dearly because of the two underwritten, emotionally unavailable characters at the film's center and when all is revealed at an amateur dance contest, the music — and the modicum of tension the movie has created — dies.
    • 65 Metascore
    • 30 Critic Score
    It's punishingly dull for fully half of its two hours and 45 minutes.
  1. A lumbering, self-important three-hour melodrama that defies credibility at every turn.
    • Newsweek
    • 61 Metascore
    • 30 Critic Score
    Once the film devolves into teary hospital scenes and courtroom shtik, you might pine for Thelma and Louise's daring road to oblivion. [20 Feb 1995, Pg.72]
    • Newsweek
  2. Flat, distressingly witless -- To put it bluntly -- the thrill is gone. Nobody did it better. But that was then.
    • Newsweek
  3. 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
  4. 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
  5. Downright repetitive! [30 May 1983]
    • Newsweek
    • 51 Metascore
    • 30 Critic Score
    An empty videogame of a movie about interplanetary pest control.
  6. Irreversible takes an adolescent pride in its own ugliness. “I Stand Alone" told me something about the world; this one tells me more than I want to know about the calculating mind of its maker.
  7. All the surprises strenuously cooked up by screenwriter Patrick Smith Kelly and director Andrew ("The Fugitive") Davis can't overcome the movie's inability to make us care about any of its paper-thin characters.
  8. The superhero genre screams for a makeover, or at least a smart deconstruction, but Hancock isn't that movie. It just ups the foolishness ante.
  9. Rent the devastating "The Boys of St. Vincent" to see how slick and hollow Sleepers is, how little it reveals about the real nature and effect of child abuse. [28 October 1996, p. 74]
    • Newsweek
  10. This is a farfetched premise, and the movie pays a price for it.
    • Newsweek
  11. The creepy subtext of his (Sandler's) behavior is something this crude, mirthless comedy tries not to notice.
  12. As adroit and charming as Witherspoon is--and she gives it her all--she cannot rise above the embarrassingly broad, witless material.
  13. Trying for a tone somewhere between an art film, an absurdist comedy, a horror movie and an old Saturday-matinee serial, he's made a handsome, cripplingly self-conscious thriller that's devoid of any real thrills. [3 Feb. 1992, p.65]
    • Newsweek
  14. You know a romantic comedy is in trouble when you root for the hero not to get the girl.
    • Newsweek
  15. That this relentless barrage of psychological and physical torture is extremely well made and powerfully performed--Watts hurls herself into her physically demanding role with heroic conviction--somehow makes it worse.
  16. All shots and no scenes, which is nice for a picture book but deadly for drama.
  17. A tired, confused romantic comedy/noir thriller with all the suspense of an infomercial. Buy the poster; skip the movie.
    • Newsweek
    • 43 Metascore
    • 30 Critic Score
    Despite some funny lines and situations, this comedy falls short.
  18. The special effects are definitely the best thing about this curiously bland disasterthon.
  19. Every once in a while a film comes along that's so inexplicably ghastly that there's just no point in making nice about it.
  20. Kids will be bored, the rest of us baffled.
    • Newsweek
    • 42 Metascore
    • 30 Critic Score
    It's just a standard, mediocre horror flick that wants to be taken seriously. The creators missed the point entirely: even teenagers know that there's no audience for this type of film anymore.
  21. The combination of Shandling's button-down TV sensibility and Nichols's good taste produces a film whose tone is out of sync with the simple, ribald conceit and is only mildly amusing at best.
  22. If this is what Hollywood considers serious, important filmmaking, maybe the movie industry should stick to the low road.
    • Newsweek
    • 39 Metascore
    • 20 Critic Score
    Director Joe Johnston ("Honey, I Shrunk the Kids") turns this fantasy into a mean-spirited exercise in terror.
  23. What was a ragged but often hilarious charmer has been genetically altered into a deafening and desperate mutant.
    • 37 Metascore
    • 20 Critic Score
    The foreboding, dark camera-work is effective in setting the mood for this sinister, eye- popping, frequently ridiculous thriller.
  24. So bland and un-lived in you want to pour Tabasco all over the screen.
    • 37 Metascore
    • 30 Critic Score
    If only the movie itself had so much spunk—Flubber bounces but it never flies.
    • 36 Metascore
    • 20 Critic Score
    Final destination? Video store bins.
    • Newsweek
  25. The usually reliable director Michael Caton-Jones hasn't a clue how to freshen up such stale material.
    • 36 Metascore
    • 30 Critic Score
    Rapidly veers towards tired 80's territory rather than offering anything new and fresh.
  26. 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.
    • 35 Metascore
    • 30 Critic Score
    With the talent involved in Sphere -- director Barry Levinson, novelist Michael Crichton and actors Dustin Hoffman, Samuel L. Jackson and Sharon Stone--how could it fail? Somehow, it does.
  27. Michael Beck (of "The Warriors") shows no discernible talent for musical romanticism Olivia ("Totally Hot") Newton-John sings prettily but is totally tepid, and the ever graceful Gene Kelly deserves a medal for keeping a straight face. Robert Greenwald, the director, should look into another line of work. Perhaps opening a disco? [18 Aug 1980, p.85]
    • Newsweek
    • 35 Metascore
    • 10 Critic Score
    A disappointingly slack, hackneyed comedy.
    • 34 Metascore
    • 20 Critic Score
    A "croc" of nonsense.
    • 33 Metascore
    • 20 Critic Score
    About as bad as it gets?a thrill-less "Speed" wannabe.
    • Newsweek
  28. Like people who compulsively giggle whenever they tell you bad news, the movie runs for cover in lame, comic shtick.
    • Newsweek
  29. Cameron Diaz, Christina Applegate and Selma Blair are asked to humiliate themselves many times over in The Sweetest Thing, and they do it with such game good spirits that they ought to get the actor’s equivalent of a Purple Heart.
    • Newsweek
    • 32 Metascore
    • 30 Critic Score
    A half-hearted comedy whose jokes are far from a knockout.
  30. Nutty paranoid thriller.
  31. Hampered by a silly plot and flat script.
    • Newsweek
    • 30 Metascore
    • 20 Critic Score
    Unfortunately, the strong ensemble cast is not able to hold together this often wayward and meandering story.
  32. Hilariously incompetent.
    • Newsweek
    • 28 Metascore
    • 20 Critic Score
    Save yourself from this mess.
  33. Screenwriter Akiva Goldsman has written quips, not characters and Joel Schumacher still seems miscast as a Bat-action director: he stages the mayhem confusingly and the comedy too broadly.
  34. The crude humor in Drop Dead Gorgeous does not have a moral point to it. It's just crude.
    • 28 Metascore
    • 20 Critic Score
    Everyone in the film is either annoying or unpleasant.
    • Newsweek
  35. I staggered out of this shameless, interminable movie feeling as if I'd been force-fed a ton of mealy, artificially sweetened baby food.
    • Newsweek
  36. Sarah Thorp’s lazy script lurches from the lame to the ludicrous.
  37. As dumb as the film is, the actors escape relatively unscathed.
    • Newsweek
  38. Screenwriter Ropelewski piles one silly plot contrivance upon another, and the characters start behaving like nitwits.
  39. Matthew Lillard of "Scream," flies like his nickname and tries to bring the film some comic relief not already provided by the stultifying stupidity of the script.
  40. The folks who served up this formulaic swill seem to think comedy grants you a free pass from credibility. Our lonely hero's artificial Yuletide enthusiasm is more than odd: it's not recognizably human.
    • 19 Metascore
    • 20 Critic Score
    The flick's ultimate flaw? For a movie about space travel, it's an awfully uninspired trek.
    • 18 Metascore
    • 10 Critic Score
    After the schadenfreudian thrill of watching beautiful people humiliate themselves wears off, it has the same annihilating effect on your will to live.
    • 18 Metascore
    • 10 Critic Score
    It stinks. The movie is so inert -- and Madonna’s performance so starkly amateurish -- that it’s impossible to take it seriously as an allegory about class and gender.
    • Newsweek
  41. Bad, but not criminally so.
  42. If you harbor any fond feelings for the original, stay far away from this mess.
    • Newsweek
  43. A disaster: dull, predictable, at times cringe-worthy.
    • Newsweek
  44. The dialogue is inane, the acting wooden, and Roger Christian's directing choices are a lesson in sci-fi film cliché.

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