Newsweek's Scores

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For 1,617 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 1.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Children of a Lesser God
Lowest review score: 0 Down to You
Score distribution:
  1. Positive: 952 out of 1617
  2. Mixed: 532 out of 1617
  3. Negative: 133 out of 1617
1617 movie reviews
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    • 56 Metascore
    • 50 Critic Score
    Rollerball
    Rollerball isn't a movie; it's a protest demonstration - producer-director Norman Jewison's feeble complaint about both the increasing brutality in professional sports and the increasing sterility of modern life. Trendy concerns, sure enough, but the movie's only contribution could well be the introduction of its brutal, eponymous game to an already sport-surfeited society. [07 July 1975, p.56]
    • Newsweek
    • 67 Metascore
    • 40 Critic Score
    Bite the Bullet
    With characteristic Hollywood hypocrisy, the movie sells male chauvinism as it knocks it and ridicules winning while it uses who's-gonna-win as its central energy. [14 Jul 1975, p.77]
    • Newsweek
    • 87 Metascore
    • 80 Critic Score
    Jaws
    Jaws is a grisly film, often ugly as sin, which achieves precisely what it set out to accomplish - scare the hell out of you. As such, it's destined to become a classic the way all truly terrifying movies, good or bad, become classics of a kind. [23 June 1975, p.54]
    • Newsweek
    • 61 Metascore
    • 80 Critic Score
    The Return of the Pink Panther
    The comic heart of the movie lies in the absolute aplomb and imperturbable self-confidence with which Sellers, as Clouseau, confronts the catastrophes of his own making. [21 July 1975, p.66]
    • Newsweek
    • 68 Metascore
    • 60 Critic Score
    French Connection II
    If the movie ultimately doesn't work, this can be said in Frankenheimer's defense: that, with every right and probably much pressure to do so, he refused to rip off The French Connection as so many films with other names already had. [26 May 1975, p.84]
    • Newsweek
    • 58 Metascore
    • 40 Critic Score
    The Fortune
    One is left longing for Mike Nichols, the brilliant satirist who made us laugh at our foibles, but who seems to have given way to a cynical, grimly grinning moralist. [26 May 1975, p.84]
    • Newsweek
    • 61 Metascore
    • 50 Critic Score
    The Day of the Locust
    The movie begs comparison with the book only because every alteration has made the story so much less interesting and intriguing than its source. Obvious and mushy beneath its dazzling surface, the film fails on its own terms. [12 May 1975, p.104]
    • Newsweek
    • 52 Metascore
    • 50 Critic Score
    Brannigan
    In Brannigan, John Wayne carries on his new career as an urban cop with all the ease of a corraled mustang. [14 Apr 1975, p.92]
    • Newsweek
    • 66 Metascore
    • 90 Critic Score
    Tommy
    Russell has created what is surely the loudest, most assaultive movie musical ever made and stretched the genre into a new realm - the phantasmagorical nightmare. [24 Mar 1975, p.24]
    • Newsweek
    • 65 Metascore
    • 70 Critic Score
    Shampoo
    Shampoo achieves a fine comic distance by setting itself so specifically in the past, but it doesn't - to its credit - try to get you, in the present, off the hook. [10 Feb 1975, p.51]
    • Newsweek
    • 54 Metascore
    • 40 Critic Score
    The Stepford Wives
    A shallowly satiric suburban joke that says some ugly and unsupported things about what kind of women men really want. [03 Mar 1975, p.70]
    • Newsweek
  12. The Wild Bunch
    The Wild Bunch still retains its sorrowful, fatal power because of the complexity of Peckinpah's attitudes about violence. He forces us to confront our own voyeuristic ambivalence; we're alternately horrified by the butchery and exhilarated by the orgiastic energy his balletic spectacles stir up.
    • 94 Metascore
    • 90 Critic Score
    Chimes at Midnight
    It's at once an embittered lament and a poignant elegy, much like his masterwork Citizen Kane, which muses on a lost time.
  14. Vertigo
    Why is this movie Hitchcock's masterpiece? Because no movie plunges us more deeply into the dizzying heart of erotic obsession...The older you get, and the m ore times you see it, the more strange, chillingly romantic thriller pierces your heart.
  15. The Third Man
    But the thing about Carol Reed's 1949 The Third Man was that no matter how many times I saw it over the years its magic never failed. Its sophisticated, world-weary glamour never lost its allure. The movie only got richer as my own experiences got richer. I kept discovering dark new delights, and the classic moments remained every bit as classic.
    • 92 Metascore
    • 80 Critic Score
    The Wizard of Oz
    The more fanatic Ozophiles may dispute M-G-M's remodeling of the story, but the average movie-goer – adult or adolescent – will find it novel and richly satisfying to the eye.
  17. One Way Passage
    This vintage movie is just another reminder that when it comes to movie romance, there's nothing more satisfying than a broken heart. [20 Jun 2002]
    • Newsweek
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