Newsweek's Scores

  • Movies
For 892 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 7.2 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 892
892 movie reviews
    • 84 Metascore
    • 90 Critic Score
    As writer and actress, Thompson has all the right Austen rhythms and filmmaker Ang Lee ("Eat Drink Man Woman") orchestrates with sensitivity and style.
  1. Has an almost perfect-pitch grasp of those messy, idealistic, vibrant times, when everyone was trying to reinvent himself from the ground up.
  2. Crazy Heart gets to you like a good country song--not because it tells you something new, but because it tells it well. It's the singer, not the song.
  3. An inspired flight of fancy, an oddly poignant examination of the creative process, a rumination on adaptation (orchids to their environment, books to the screen and misfits like Charlie to life) and, in its ultimate irony, a story in which our hero learns a life-altering lesson.
  4. The beauty of Welcome to the Dollhouse is its pokerfaced objectivity, which neither condescends to its pubescent victim nor romantically inflates her plight.
  5. He’s (González Iñárritu) conjured up a dark, brutal vision of urban life that sticks to your skin like soot.
  6. The rage and sadness behind this film -- the first from Afghanistan since the Taliban's fall -- is matched by its artistry.
    • 83 Metascore
    • 100 Critic Score
    Amazingly, it's not all the visual splendor or killer action sequences that elevate Spider-Man 2 above its predecessor and almost every superhero movie that has come before.
  7. Leon Gast's remarkable film -- which is intercut with terrific recent interviews with eyewitnesses Norman Mailer and George Plimpton -- is about much more than one stupendous fight.
  8. A delightful surprise... Jewison does his best work in decades. [21 Dec 1987]
  9. The superbly acted Spider is muted in comparison: it’s a quiet nightmare, painted in hospital greens and rust browns.
  10. There hasn't been a studio movie as unapologetically adult, sophisticated, and nuanced as Up in the Air in some time.
    • 83 Metascore
    • 80 Critic Score
    It has a surprising charm.
    • 83 Metascore
    • 80 Critic Score
    The masterful Duvall skillfully illuminates the paradoxes of a very complex man; he also elicits honest performances from his cast. The zealous churchgoers seem more like real people than actors.
  11. A piece of spectacular silliness, but that's not meant with disrespect. The key word is spectacular.
  12. This brilliantly disturbing movie is constructed with surgical precision. Haneke lets no one off the hook least of all the viewer.
    • 83 Metascore
    • 90 Critic Score
    An extraordinary documentary.
  13. Depp is such a soulful presence he gives you a glimpse of this maniac's pain and pathos. Bonham Carter is extraordinary. She reinvents Mrs. Lovett from the inside out.
    • 83 Metascore
    • 80 Critic Score
    Artfully ambivalent, Danny Boyle's film, twists with a junkie's logic. It does not preach; it wallows in the pain and, more daringly, in the pleasure.
  14. Director Payne, who adapted Tom Perrotta's novel with Jim Taylor, has an authentically dire view of human behavior, which he expresses in crisp, edgy and sometimes startlingly raunchy style.
  15. A heartbreaking comedy that is simultaneously funny and sad, raunchy and sweet, funky and elegiac. These fresh, unexpected juxtapositions are a specialty of the writer Hanif Kureishi ("My Beautiful Laundrette"), a sworn enemy of cliché.
  16. Anyone who cares about ravishing filmmaking, superb acting and movies willing to dive into the mystery of unconditional love will leave this dark romance both shaken and invigorated.
  17. Loach hurls us into the fracas, circa 1920, and creates such a vivid sense of the nuts and bolts of guerilla war you almost forget you are watching a period piece. Unlike the epic sweep of Neil Jordan's "Billy Collins," which spoke in a syntax closer to Hollywood's, "The Wind" doesn't paint over its political arguments with a patina of nostalgia.
  18. Face/Off is a summer movie extraordinaire: violent, imaginative, crazily funny and, oddly moving. Hollywood has finally wised up and let Hong Kong auteur John Woo strut his stuff in all its undiluted, over-the-top glory.
  19. Indoors, it's Jane Austen. Outdoors, this red-blooded, exuberantly romantic version of Pride and Prejudice plays more like Emily Brontë. Purists may object, but most will find this love story irresistible.
  20. It's a bravura, all-stops-out, inexhaustibly inventive performance. I don't know how much was improvised, and how much comes from White's sharp screenplay, but Black may never again get a part that displays his mad-dog comic ferocity to such brilliant effect. He, and the movie, kick ass.
  21. There are times when you wish the movie was a mini-series. This is meant both as a tribute, for the Ganguli family is so engaging you'd be happy spending much more time with them, and an acknowledgment that a tale this expansive doesn't always fit comfortably within the constraints of a feature-length frame.
    • 82 Metascore
    • 80 Critic Score
    The result is a film that's really moving--and really moves.
  22. Urgently, without sentimentality, "La Promesse" shows us the birth of a conscience, and its cost. This fleet, powerful movie may prove to be a classic. [30 June 1997, p.79]
  23. A meticulous, spellbinding, provocative depiction of the final days of the Third Reich.

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