For 596 reviews, this critic has graded:
  • 62% higher than the average critic
  • 2% same as the average critic
  • 36% lower than the average critic
On average, this critic grades 1.8 points higher than other critics. (0-100 point scale)

Kim Newman's Scores

  • Movies
  • TV
Average review score: 66
Highest review score: 100 Alien
Lowest review score: 20 Movie 43
Score distribution:
  1. Negative: 24 out of 596
596 movie reviews
    • 74 Metascore
    • 60 Kim Newman
    Cold and cerebral, with simmering suspense rather than outright excitement, this is a feel-the-quality-of-the-acting movie. It can’t answer all sorts of questions, but does take a scary mug shot of a subtle monster.
    • 44 Metascore
    • 60 Kim Newman
    This is one of those failures that has so many near-great things that it almost gets by on guts.
    • 38 Metascore
    • 20 Kim Newman
    One of the problems is that King usually writes about cliche subjects so well that you don’t notice the hackneyed aspects of his books, and so when all the character detail, precise backgrounding and elaborate plot setting-up mechanisms are pruned away, all you get is a dumb TV movie with characters doing insanely stupid things to prolong the agony.
    • 73 Metascore
    • 80 Kim Newman
    This remains a compelling Hitchcock thriller but it's Tippi Hedron's remarkable central performance which steals the show.
    • 36 Metascore
    • 40 Kim Newman
    Strays slightly from the formula and therefore loses some of its mindless fun credentials.
    • 63 Metascore
    • 80 Kim Newman
    This pleasant 1940 comedy-drama hit on the successful double-act teaming of crooner Bing Crosby and patter comic Bob Hope, throwing in sarong-clad Dorothy Lamour for glamour and working through a trivial plot about fleeing responsibility for a South Seas idyll.
    • 79 Metascore
    • 80 Kim Newman
    Bruno Ganz is excellent as the victim deceived into committing murder.
    • 51 Metascore
    • 60 Kim Newman
    A good performance from Barrymore, the admirable Gilbert (who talks as her character on Roseanne would if she was covered by an 18 certificate) and director Katt Shea Ruben, a Roger Gorman associate hitherto best known for sleaze thrillers set in strip clubs.
    • 65 Metascore
    • 80 Kim Newman
    Ferrera successfully breathes life into an old franchise, with only a slight small change in the narrative but making the aliens significantly more frightening. Anwar is equally intuitive and sassy enough to make her a likeable and believable heroine and although the effects aren't up to much, there are still plenty of scary moments.
    • 34 Metascore
    • 20 Kim Newman
    Bottom-rung dreck.
    • 78 Metascore
    • 100 Kim Newman
    Even one-scene characters are unforgettable, but Sayles really gets under the skin of his struggling-to-be-heroic leads, Sam and Pilar. Long after this summer's crop of action flicks is gone, you'll watch this for the third or fourth time and see fresh material. Outstanding.
    • 87 Metascore
    • 100 Kim Newman
    If you set aside Frankenstein as more of a horror film and King Kong as a fantasy, The Invisible Man is the first truly great American science fiction film.
    • 80 Metascore
    • 80 Kim Newman
    It stands as a hugely enjoyable, occasionally chilling, musical.
    • 86 Metascore
    • 100 Kim Newman
    This really is the musical for people who don’t like musicals.
    • 60 Metascore
    • 60 Kim Newman
    The later stretches, which are forced to become oblique and symbolic in the absence of any hard evidence about what really happened to the sailor, showcase some of Firth’s best screen work.
    • 52 Metascore
    • 40 Kim Newman
    All style and no anything else, especially plot coherence.
    • 58 Metascore
    • 60 Kim Newman
    A curiously resistable drama, despite several strong elements - the most notable being newcomer Idina Menzel.
    • 58 Metascore
    • 40 Kim Newman
    Splendid landscapes and interesting faces - the usual virtues of the Western - keep the film burbling along, even as the actual plot is falling apart.
    • 63 Metascore
    • 60 Kim Newman
    More Damon Runyan than Irvine Welsh, but as entertaining as it is important.
    • 36 Metascore
    • 20 Kim Newman
    Depressing and trivial.
    • 54 Metascore
    • 60 Kim Newman
    Surprisingly, even after waiting 20 years, they managed to turn out a smart, darkly-comic thriller with some imaginative twists.
    • 53 Metascore
    • 60 Kim Newman
    Remember the film you hoped "Snakes On A Plane" would be – this is it! By any sane cinematic standards, meretricious trash … but thrown at you with such good-humoured glee that it's hard to resist. It's a bumper-sticker of a movie: honk if you love tits and gore! Honk honk honk.
    • 70 Metascore
    • 100 Kim Newman
    Eichhorn, who should have had a much bigger career, is luminous as the sad-eyed heroine, while Heard pulls off the showy role - especially in a climax that finds him rampaging through a posh party at the Cord estate in search of justice.
    • 78 Metascore
    • 80 Kim Newman
    Alternating gritty realism and red‑hued fantasy, this is one of those '70s films that wears well, universal in its heart while picking out specifics which are exactly of their time.
    • 91 Metascore
    • 100 Kim Newman
    Beautiful photography, a heartbreaking story, and iconic moments from beginning to end. Absolutely unmissable.
    • 69 Metascore
    • 80 Kim Newman
    A lurid gothic gangster psychodrama from Roger Corman, this is Shelley Winters’ finest hour-and-a-half, cast as Arizona Clark ‘Ma’ Barker, a role it would be impossible to overplay.
    • 24 Metascore
    • 40 Kim Newman
    Though Clay is unbearably watchable, the mis-cast director means this comedy would be better as an action flick - it isn't funny but the violence is well executed.
    • 24 Metascore
    • 40 Kim Newman
    Torture junkies should remember it’s only four months to Saw IV -- so you can afford to avoid Captivity.
    • 81 Metascore
    • 80 Kim Newman
    Improv comedy at its best: subtle, hilarious, excruciating and affecting in equal measure.
    • 28 Metascore
    • 60 Kim Newman
    Howard the Duck manages to be two or three types of fun: as a crazy comedy, it has some good risque/sick jokes to go along with its messy slapstick and bland rock music; as a monster movie, it has an outstanding performance from Jeffrey Jones as a scientist-cum-monster and an astonishingly repulsive Dark Overlord of the Universe shows up for the exciting climax.

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