Newsweek's Scores

  • Movies
  • TV
For 1,401 reviews, this publication has graded:
  • 57% higher than the average critic
  • 3% same as the average critic
  • 40% lower than the average critic
On average, this publication grades 2.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Memento
Lowest review score: 0 Down to You
Score distribution:
1401 movie reviews
  1. For about an hour the writing, acting and direction coalesce in a prismatic, hyperkinetic ode to end-of-century doom. And then the two-hours-plus film starts to subside into genre convention. [16 Oct 1995, p.86]
    • Newsweek
  2. A style so chic, studied and murky it resembles a cross between a Nike commercial and a bad Polish art film.
  3. Unlike Clark's extraordinary books of black-and-white photography, Kids is stunningly anti-erotic, though not untainted by sensationalism. By condensing all this inflammatory material into a 24-hour time frame, Clark and 19-year-old screen-writer Harmony Korine create an overwrought narrative that's sometimes tedious in its relentlesshess.
  4. Complacently threatens to turn an interesting actor into a self-parodying commodity.
  5. The movie does have somewhat more lilt and levity, much of it due to Jim Carrey as the Riddler. But there's still plenty of murk, physical and metaphysical, and more psychobabble about Bruce Wayne's obsessions and repressions.
  6. Congo is basically the old African ooga-mooga movie brought into the P.C., high-tech age.
  7. But Die Hard WAV lacks the freshness of its two predecessors: we've had it with gassy police psychiatrists and supersmart terrorists.
    • 66 Metascore
    • 40 Critic Score
    Ultimately, this is a war of boorishness vs. sensitivity, and the filmmakers waffle.
    • 63 Metascore
    • 60 Critic Score
    Depp attacks his role with relish, stamping his boot heels and recounting improbable erotic adventures in a wonderful Castilian lisp. Unfortunately, Depp's the only one flying over this cuckoo's nest. [24 Apr 1995, p.64]
    • Newsweek
    • 49 Metascore
    • 60 Critic Score
    In the end, this Western is serviceable enough. Herod says if you're born bad, you're bad forever. The Quick was born bad, but it got better. [20 Feb 1995, p.72]
    • Newsweek
  8. Ready to Wear is all appetizers: the main course never arrives. Still, the critical savagery puzzles me. Altman's movie may be indefensible, but it's not unenjoyable. The fun of it is entirely superficial, like skimming a gossip column.
  9. Neither hilarious nor horrible, Junior is the first would-be Arnold blockbuster that coasts on charm.
    • 55 Metascore
    • 60 Critic Score
    For Trek devotees, it's a supernova of unpredictable sci-fi thrills, though the earthbound may find this trip through the heavens a bit tiresome, especially when the movie tries too hard to wax philosophic. [18 Nov. 1994, p.88]
    • Newsweek
  10. But once the couple clinch their bond -- just when the story gets really shameless -- the life drains out of the movie. Love Affair takes such pains to dodge vulgarity it forgets to put anything in its place.
  11. Though well acted, and handsomely shot by veteran Adam Holender, Fresh sacrifices real emotion for thriller contrivances. It's a tourist's drive through inner-city hell. [05 Sep 1994, p.69]
    • Newsweek
  12. There have been and will be worse sequels than City Slickers II: The Legend of Curly's Gold, but there are few that seem so unnecessary. Slickers II, directed by Paul Weiland, is so harmless it's numbing: a little male bonding, some sagebrush slapstick, a couple of decent quips and a gift-wrapped moral. I kept wondering how the filmmakers mustered up the energy to go to work every morning. [27 June 1994, p.54]
    • Newsweek
  13. It succeeds in bringing O'Barr's comic-book vision to life, but there's little else going on behind the graphic razzle-dazzle and the moody, ominous soundtrack.
  14. After the taut and troubling Unforgiven, Clint Eastwood's A Perfect World feels like a breather. As usual, you can expect solid, no-fuss craftsmanship, but it's best to set your expectations down a notch.
  15. There is some elegant and clever filmmaking in Rising Sun. But ultimately Kaufman and Crichton are a bad fit: trying to transcend the material, the director loses the novelist's crude but compelling urgency.
  16. CB4
    Torn between celebration and sendup, CB4 misses its big target as often as it hits. Still, it's hard not to chuckle when Rock, in a slow-motion lovers-running-in-the-field montage, trips and falls under an excess of gold chains, or when he experiences a nightmare vision of his future in the Hip Hop Retirement Home.
  17. The failure of Barry Levinson's Toys is of a different order: it's the kind of folly only a very fine filmmaker could make, a labor of misguided love.
  18. If you can overlook the obvious flaws -- a bumpy beginning, a villain whose motive is both too obvious and hard to swallow -- The Bodyguard has its flashy, shallow pleasures. There's some wit in Kasdan's script, and plenty of dread in the big Oscar-ceremony climax (reminiscent of "The Man Who Knew Too Much"). When it works, it's like watching a paranoid edition of "Lifestyles of the Rich and Famous." [30 Nov 1992, p.80]
    • Newsweek
  19. Once the shock value rubs off, this hyped-up movie reveals itself to be as empty as the desperate boys it pretends to explore. [05 July 1993, p.57]
    • Newsweek
  20. Single White Female gives the viewers the adrenaline rush they paid for, but it promised more. The formula betrays the fine work of Leigh and Fonda, whose characters are much too interesting to find themselves stranded in a tony but ultimately tired slasher movie.
  21. Just at the point when Alien 3 should kick into high terror gear, it becomes clear that this hushed, somber sequel doesn't know how to deliver the goods. Fincher has style to spare -- and the sets, cinematography and special effects are all first rate -- but the nuts and bolts of storytelling elude him. [1 June 1992, p.73]
    • Newsweek
  22. Poised halfway between the action conventions of "New Jack City" and the personal grit of "Straight Out of Brooklyn," Juice doesn't have the pizzaz or the insight, to satisfy as either exploitation or art. Dickerson and his fresh young cast make it move; it just doesn't move very far.
  23. The spectacle played out in Levinson's lyrical, dark-hued images never achieves the emotional whiplash the movie's after. Levinson's somber elegance and Toback's volatile aggression don't quite mesh: perhaps what this story needed was the fleet, gaudy ferocity of a Sam Fuller. Bugsy never makes the transition from the filmmakers' heads to the audience's gut.
    • Newsweek
  24. The film's chief delight is the sharp and funny international cast. But Jarmusch's comic touch keeps curdling into corn. The minimalist is a sentimentalist, which would be ok if he didn't cover it all with an incense of cosmic pretentiousness. [18 May 1992, p.66]
    • Newsweek
  25. 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.
    • 57 Metascore
    • 60 Critic Score
    The plot is lame; the jokes are often broad, though if you have a weakness for dumb humor -- or you're under 10 years old -- you'll find them hilarious. [25 Nov 1991, p.56]
    • Newsweek

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