TV Guide Magazine's Scores

  • Movies
  • TV
For 5,999 reviews, this publication has graded:
  • 46% higher than the average critic
  • 3% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 4.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Kramer vs. Kramer
Lowest review score: 0 Vulgar
Score distribution:
5999 movie reviews
    • 70 Metascore
    • 50 Critic Score
    All the performers either overact laughably or underact to the point of just standing in place and speaking lines in a monotone. Whether the film ever stopped anyone from smoking marijuana is doubtful, but it certainly turned out to be a greater success than its producers ever dreamed.
    • 55 Metascore
    • 60 Critic Score
    Somehow the filmmakers managed to take the subject of the mistreatment of migrant workers and turn it into a vehicle for displaying Bronson's violent heroics.
    • 47 Metascore
    • 50 Critic Score
    CHAPLIN is the cinematic equivalent of a whistle-stop tour of Europe--the kind that takes you to ten cities in five days at such speed that everything melts into a vaguely entertaining blur.
    • 64 Metascore
    • 50 Critic Score
    Our favorite parts, though, were the moments of unintentional humor, mostly courtesy of Ms. Archer. Her insufferably goody-goody performance makes you wish Glenn Close would show up brandishing a kitchen knife.
    • 63 Metascore
    • 50 Critic Score
    William Rose, with a stilted screenplay, and Stanley Kramer, make this dinner hour stand still--a really safe, lame melodrama.
    • 61 Metascore
    • 60 Critic Score
    While the slapstick comedy antics are frequently amusing and, on rare occasions, even hilarious, HOT SHOTS!, like so many other cinematic parodies before it, tends to lose sight--or control--of the plot, such as it is, in favor of more jokes, more visual gags and more dialogue puns--all hurled at the audience at a rapid-fire pace.
    • 52 Metascore
    • 20 Critic Score
    Prodded by Landis' slam-bang direction, the effect isn't so much a comedy as it is an exercise in excess. Somewhere in the planning stage one all-important factor was left out: humor. The concept is a funny one, yet no one seems to have the faintest idea of what to do with it. Between Landis' direction and the initially lame screenplay, Three Amigos never really stands a chance.
    • 44 Metascore
    • 75 Critic Score
    The 'Burbs offers a delightfully complicated portrait of suburban voyeurism, a portrait taken to its absurd extreme by Dante's introduction of foreign elements among his xenophobic characters, in a devastating satire of suburban values.
    • 22 Metascore
    • 25 Critic Score
    Blame It On Rio turns into a most uncomfortable film, leeringly depicting an affair with decidely icky undertones of incest and pedophilia. Between gratuitous (if titillating) nude scenes and a succession of lame soundtrack songs, there are plenty of travelogue shots to pad out the thin narrative line. Caine looks embarrassed through the entire film, as well he might.
    • 52 Metascore
    • 40 Critic Score
    Intermittently amusing, forgettable action spoof showcasing Whoopi Goldberg and helmed by Penny Marshall.
    • 70 Metascore
    • 50 Critic Score
    Clearly designed as a cult film, this messy trifle is not without its charms. These include the affably weird Goldblum, Lithgow's deliriously overstated mad scientist, and a band of alien invaders who are not emissaries of a vastly superior race, but beer-swilling mediocrities in Hawaiian shirts.
    • 60 Metascore
    • 88 Critic Score
    The result is a raucously funny and poignant love letter to standup comics.
    • 28 Metascore
    • 50 Critic Score
    At the end of the day, people who want to see this movie aren't looking for something original. There's a certain familiarity that makes the romantic comedy a perennial favorite among audiences.
    • 41 Metascore
    • 50 Critic Score
    Your ability to enjoy G-Force will correlate directly with how funny you find the idea of guinea pigs as action heroes.
    • 78 Metascore
    • 75 Critic Score
    The good news is that it comes closer than any of its predecessors, hitting the mark or coming close to it on almost all fronts. With "Harry Potter and the Deathly Hallows" being split into two films, the final installment stands an excellent chance of getting it right.
    • 32 Metascore
    • 50 Critic Score
    For a teen film to resonate, it has to feel honest, and I Love You, Beth Cooper simply comes off as too paint-by-numbers to achieve any level of emotional authenticity.
    • 54 Metascore
    • 88 Critic Score
    With Bruno, Baron Cohen essentially turns a carnival mirror on society, and some people simply aren't going to like what they see. This is satire at its most confrontational and incisive.
    • 74 Metascore
    • 75 Critic Score
    The movie does open up a lot of heretofore vacuum-sealed cans of worms. Does sex represent a sort of grand completeness that men secretly yearn for in their friendships?
    • 70 Metascore
    • 75 Critic Score
    For people who loved "Heat," this is a tour de force.
    • 51 Metascore
    • 50 Critic Score
    Should be shown in theaters that offer seats with tissue dispensers built right into the arm rests.
    • 35 Metascore
    • 75 Critic Score
    If you enjoyed the robo-spastic ride the first time, then you should be happy with this movie, too. And if you complained that the first movie was trite and lacking in character development, then you probably shouldn’t even be reading this.
    • 48 Metascore
    • 50 Critic Score
    Bullock playing against type is the only original thing going on in the whole film.
    • 55 Metascore
    • 88 Critic Score
    While director Tony Scott's brash and boisterous take on the material may lack that certain '70s quirkiness, it gets just about everything else exactly right.
    • 54 Metascore
    • 88 Critic Score
    By no means a landmark, but it is a remarkably pleasant surprise -- so few movies aimed for the whole family show an understanding of why it's actually healthy to pretend.
    • 67 Metascore
    • 75 Critic Score
    Moon is a small-scale film, but, thanks in no small part to Rockwell, its mix of thematic grandeur and human drama makes it a worthy successor to those 1970s science fiction films that inspired it.
    • 73 Metascore
    • 88 Critic Score
    So if you're looking for the next stop on the Shockingly Experimental Comedy train, don't get off here -- this ride is strictly for laughs.
    • 34 Metascore
    • 50 Critic Score
    A benign, mushy gruel that tries desperately to maintain the sticky sweet consistency of "My Big Fat Greek Wedding" but ultimately ends up coasting on the "kefi" of that previous success.
    • 58 Metascore
    • 100 Critic Score
    Like "Juno" or "Little Miss Sunshine," Away We Go is a small film, the kind of gem that's easy to crush with hype or overpraise. But, the fact is that few movies deal with feelings this profound with as much restraint as Mendes and his crew display here.
    • 32 Metascore
    • 50 Critic Score
    If director Brad Silberling had taken this cast to their natural extremes, he might have delivered a raucously funny sci-fi comedy -- think "Anchorman" meets "Jurassic Park." Instead, Land of the Lost is an utter misfire -- not bad enough to hate, not good enough to remember.
    • 88 Metascore
    • 100 Critic Score
    Up
    You get the feeling that, had Pixar been in business 25 years ago, Steven Spielberg might have made this movie for them as a follow-up to "Raiders of the Lost Ark."

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