TV Guide's Scores

  • Movies
  • TV
For 5,170 reviews, this publication has graded:
  • 48% higher than the average critic
  • 3% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 2.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 The Fly
Lowest review score: 0 The Hottie & the Nottie
Score distribution:
5,170 movie reviews
  1. This dreary science-fiction/historical-action hybrid is a misfire of staggering proportions.
  2. This amateurish comedy features some amazing sequences shot in Moscow. But everything else about it is second rate.
  3. The final irony is that it's tailored for a PG-13 audience: The violence is bloodless, the sex is all come-on and the surreally reckless stunts cater to viewers too young to drive.
  4. The hyperactive Hong Kong action stuff is getting old.
  5. In the hands of a more gleefully provocative filmmaker, this variation on the standard erotic-thriller stew of sleaze, tease and murder, this ludicrous farrago might have been tawdry fun.
  6. Continuity errors are as numerous as product placements and though shot on location, the movie captures none of London's local color.
  7. An excruciatingly unfunny comedy.
  8. What really sinks the film, though, is the utter absence of chemistry between Perry and Willis.
  9. Pokey, blood-spattered, cheap-scare-larded prequel.
  10. It took a village of screenwriters and story creators - including costar Queen Latifah and first-time director Lance Rivera - to cram just about every imaginable stereotype about African-Americans and white people ever conceived into this short, unappetizing comedy.
  11. This is sorry stuff.
    • 27 Metascore
    • 20 Reviewed by
      Ken Fox
    Farley -- one of the few comedians who could ever be justly accused of debasing the pratfall -- has made a film that's tantamount to watching an overweight man slip on a banana peel for nearly 90 minutes.
    • 14 Metascore
    • 20 Critic Score
    Code Word: Bad!
  12. Repetitive, predictable comedy.
  13. The less said about the story's twists and turns the better, except to warn that they become increasing preposterous with each passing minute.
    • 33 Metascore
    • 20 Critic Score
    Louise Fletcher is a walking sight gag as the evil principal, but just about every other gag falls flat and lies there, wheezing.
  14. If you can't spell "bogeyman," you shouldn't make movies about him.
  15. The parade of eccentrics never ends, and Stone's near-miraculous achievement is to drain the life right out of material so sordid you'd think it couldn't help but be interesting. A must to avoid.
  16. S-s-s-smokin'? Hardly, this sequel to the 1994 Jim Carrey flick "The Mask" should have been snuffed out in the drawing room.
    • 16 Metascore
    • 20 Critic Score
    The film should have featured more absurd and nonsensical elements. Certainly the plot is ridiculous, and so completely illogical that to see it fall by the wayside in favor of some inspired lunacy would not have been a loss.
  17. The film vacillates between inanity and flat-out lameness, and the decision to recut from an R-rated version to a PG-13 sucked out whatever life might have been left.
  18. The result is an unpleasant slog to an unrewarding conclusion that feels far longer than it is.
  19. Crass, trashy and none-too-funny comedy.
  20. Even by the degraded standards of dim-witted summer blockbusters, this is sorry stuff.
  21. This bare-bones plot is merely an excuse to string together a series of gross-out jokes involving bodily fluids, private parts, food and genetic deformities.
  22. The first fruit of wunderkinder Alicia Silverstone's First Kiss Productions, this muddled thriller-cum-romantic comedy of errors suggests that she might want to lay off the producing for a few years.
  23. The profoundly unconvincing CGI work only makes the sorry screenplay and lackluster performances look worse.
  24. This tedious hodgepodge of martial-arts mayhem, bogus mysticism and computer-generated special effects doesn't even pretend to have a plot.
  25. Not clever. Not scary. Not funny.
  26. Is there anything more irritating than an exploitation filmmaker with self-referentiality on the brain?

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