TV Guide Magazine's Scores

  • Movies
  • TV
For 6,044 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 A Star Is Born
Lowest review score: 0 Curse of the Pink Panther
Score distribution:
6044 movie reviews
    • 57 Metascore
    • 63 Critic Score
    Of course, most of the male-female situations Terry finds herself in are played for laughs, and the film eventually sinks into an all too typical conclusion, but the observations regarding the nature of sexuality are interesting and well handled.
    • 24 Metascore
    • 25 Critic Score
    Jam-packed with car smash-ups, predictable situations, and a few stock characters, Moving Violations is nothing more than the cinematic equivalent of a connect-the-dots puzzle.
    • 70 Metascore
    • 40 Critic Score
    A rather tepid anthology film, CAT'S EYE is a pastiche of leftover Stephen King notions, connected by a ubiquitous cat that ominously appears to set off each tale.
    • 71 Metascore
    • 75 Critic Score
    This is one of the most charming low-budget films in years, a freewheeling, light-hearted farce that gives some new twists to old plot devices.
    • 39 Metascore
    • 25 Critic Score
    Only Michael Winslow, repeating his uncanny ability as a sort of human sound-effects machine, is able to give any life to this, but his efforts are like reviving a beached carp. They don't come any worse than this.
    • 67 Metascore
    • 60 Critic Score
    The performances in the film are excellent, and its look is entirely appropriate and mesmerizing--but only for a while. The film's basic flaw is that it's just too painful, too depressing, and too slow to watch.
    • 73 Metascore
    • 60 Critic Score
    Mask is a good movie that could have been a great one with a little more restraint.
    • 16 Metascore
    • 40 Critic Score
    To make up for the lack of blood, the film provided more gratuitous nudity than had been seen in the previous installments of the series.
    • 75 Metascore
    • 75 Critic Score
    An offbeat, existential crime drama buoyed by fine performances; nicely turned dialogue; and an evocative soundtrack and theme song from Paco di Lucia and Eric Clapton, respectively.
    • 76 Metascore
    • 75 Critic Score
    A charming surprise.
    • 62 Metascore
    • 60 Critic Score
    Hughes, though he gives the material a sense of fun and achieves several moments of genuine warmth, too often resorts to obvious cliches, stereotypes, and easy answers, and throws in the near-obligatory rock video as well.
    • 76 Metascore
    • 50 Critic Score
    Just when it seemed Albert Brooks had gotten his creative energies under control, along comes this intermittently funny, often overdone comedy that could have been a classic.
    • 76 Metascore
    • 100 Critic Score
    Sure-footed thriller, beautifully photographed, with Ford's best performance thus far.
    • 68 Metascore
    • 75 Critic Score
    Both a spy drama and an intriguing character study. Penn invests his Snowman with fascinating eccentricity and is the more interesting of the pair, though Hutton delivers an estimable performance as the sullen young falconer.
    • 81 Metascore
    • 80 Critic Score
    The Coens' concern isn't emotional intensity but bravura camera moves and chic lighting of cinematographer Barry Sonnenfeld.
    • 54 Metascore
    • 50 Critic Score
    Even with all its flaws, Johnny Dangerously has many genuinely funny moments, and if you're in the mood for silliness, you won't stop laughing.
    • 55 Metascore
    • 50 Critic Score
    Fast-paced, fully aware of its own foolishness, and with lively dance sequences, BREAKIN' 2 is an enjoyable diversion for those who like breakdancing.
    • 71 Metascore
    • 75 Critic Score
    Starman is a wonderful film that combines science fiction, road movies, and romance into an engaging, very entertaining whole.
    • 50 Metascore
    • 50 Critic Score
    The problem with RUNAWAY is that it never reaches deeper than a playful level, amounting to nothing more than great but shallow entertainment. Selleck provides a thoughtful performance, coming across as a real, feeling person instead of the expected Rambo-esque tough-guy stereotype.
    • 68 Metascore
    • 75 Critic Score
    Lavish, interesting, evocative but strained and self-conscious, The Cotton Club is all watchable curiosity.
    • 40 Metascore
    • 50 Critic Score
    DUNE is visually delightful but choppy, confusing, and overloaded with exposition. Moreover, most of the thematic material that made the novel work--subtexts involving incestuous desire, capitalism vs. environmentalism, and Middle East politics--is simply missing.
    • 53 Metascore
    • 60 Critic Score
    As a standard science-fiction film, 2010 is fine. It has all the right plot elements, dramatic tension, and eye-popping special effects. The performances are uniformly good, the space-adventure scenes are excitingly handled, and the reappearance of HAL 9000 and Dullea is downright eerie. Yet it's hard to get over the fact that the purpose of this film is to tear down all the awe-inspiring effects of 2001. The sequel simply fails to fascinate and awe us like the original did.
    • 42 Metascore
    • 25 Critic Score
    Jeannot Szwarc's direction is flat and uninspired, emphasizing the jokey elements without any sense at all for the material.
    • 84 Metascore
    • 80 Critic Score
    An amazingly effective picture that becomes doubly impressive when one considers its small budget.
    • 69 Metascore
    • 40 Critic Score
    Contrived, shallow, distasteful, and ultimately pointless, BODY DOUBLE is more an exercise in empty cinematic style than an engrossing thriller. Although cinematographer Burum executes some absolutely breathtaking camera moves, his effort goes for naught when pitted against director De Palma and cowriter Avrech's insipid narrative. What De Palma has done here is simply take elements from two superb Alfred Hitchcock films, REAR WINDOW and VERTIGO, and combine them into one insipid film. While Griffith is sexy and appealing in her role, Wasson's character is so bland that he generates little interest.
    • 89 Metascore
    • 100 Critic Score
    By common consensus, Stop Making Sense is the best concert film ever made.
    • 55 Metascore
    • 20 Critic Score
    Women are treated with little respect by director Wilder, while men are portrayed as bad little boys who mean no harm. The so-called farce is just degrading prattle that drags on much longer than it should.
    • 55 Metascore
    • 88 Critic Score
    Although the film plays a little too heavily on this patriotic theme, its simple boy-and-his-horse story is beautifully effective.
    • 64 Metascore
    • 75 Critic Score
    Cloak benefits from tight direction and the good humor of the Holland script. The addition of the dual role for Coleman (who's excellent in both) serves to highlight the relationship between father and son, adding another dimension to the yarn and almost relegating the spy plot from the core element of the story to mere diversion.
    • 55 Metascore
    • 20 Critic Score
    Another infantile right-wing fantasy from writer-director John Milius, this cinematic embodiment of the paranoid delusions of militarists, survivalists, and television evangelists is definitely a film for the Reagan era. Red Dawn is simply too simplistic and inept to be taken seriously.

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