TV Guide Magazine's Scores

  • Movies
  • TV
For 5,585 reviews, this publication has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% lower than the average critic
On average, this publication grades 3.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Schindler's List
Lowest review score: 0 The Hottie & the Nottie
Score distribution:
5585 movie reviews
    • 78 Metascore
    • 70 Critic Score
    Director Martin Brest has allowed the actors to improvise, and their resulting interaction is more realistic, funny, and surprising than that of any buddy film released in the last several years.
    • 70 Metascore
    • 60 Critic Score
    A triumph of slick direction and lowbrow thrills, marred but not spoiled by a sour aftertaste.
    • 46 Metascore
    • 50 Critic Score
    Fifth entry in the "Dirty Harry" series, a definite step backwards from the fascinating and ultimately disturbing progression of Eastwood's character in Sudden Impact.
    • 42 Metascore
    • 40 Critic Score
    The original Phantasm was an inventive fever-dream, but the sequel, unfortunately, lacks that delirious youthful imagination. There are some memorable moments along the way--fleeting images scattered throughout the film that have a cumulative effect--but when the shocks do come, they are mostly retreads of highlights from the first movie.
    • 36 Metascore
    • 20 Critic Score
    Although the premise of getting or not getting a first driver's license is a solid-enough base for 90 minutes of teenage comedy, License to Drive misses the point on all counts.
    • 47 Metascore
    • 63 Critic Score
    Although the fairy-tale script is as old as the motion picture industry itself, the resourceful cast of Coming to America brings freshness to the annoyingly cliched material. Unfortunately, Landis' inelegant direction nearly derails the film.
    • 83 Metascore
    • 60 Critic Score
    While flawlessly delivered, it's overkill--so loud and excessive, it makes our head swim... It's like a sumptous banquet composed entirely of fast food; fills you up but entirely forgettable.
    • 61 Metascore
    • 75 Critic Score
    Hill has gotten Schwarzenegger to give one of the best performances of his career, and Belushi too is thoroughly convincing as an action hero. RED HEAT is a welcome break from the shallow shoot-'em-ups that became the standard in the 1980s.
    • 73 Metascore
    • 70 Critic Score
    Featuring outstanding lead performances by Kevin Costner, Susan Sarandon, and Tim Robbins; a witty, literate script; and an insider's familiarity with life around minor league baseball--Bull Durham is both one of the best films ever made about the national pastime and a charming romantic comedy.
    • 31 Metascore
    • 25 Critic Score
    A thoroughly uninvolving picture, THE PRESIDIO is chiefly the victim of a horrendous screenplay by Larry Ferguson (BEVERLY HILLS COP II; HIGHLANDER). When it isn't providing mundane dialog, Ferguson's script assaults the viewer with senseless exposition continuously dredged up from the characters' pasts.
    • 73 Metascore
    • 88 Critic Score
    Big
    Big is a winning, charming film, primarily because Hanks makes it work. He is extraordinarily convincing as an adolescent who suddenly finds himself dealing with a new, adult body, responsibilities, and a romantic relationship, while simultaneously trying to survive vicious corporate infighting.
    • 36 Metascore
    • 38 Critic Score
    Though less offensive than its predecessor, Rambo III -- which is dedicated to "the gallant people of Afghanistan" -- is still a mindless and uninspired effort.
    • 41 Metascore
    • 40 Critic Score
    A surprisingly shoddy affair that abandons the unabashed romance of its predecessor for a rudimentary action-adventure plot involving guns and drugs.
    • 47 Metascore
    • 40 Critic Score
    Every aspect of WILLOW seems as if it were written in stone before a shot was filmed. The plot grinds on inescapably to its predictable climax, with the viewer fully aware of what awaits long before the events unfold.
    • 29 Metascore
    • 40 Critic Score
    Bloodsport is strictly for martial arts buffs; little is offered here in the way of plot, dialog, or acting.
    • 71 Metascore
    • 88 Critic Score
    Bagdad Cafe is a visually exhilarating and consciously modern film, more concerned with projecting an atmosphere or spirit than with telling a story. It's hard not to fall in love with this comic fable about the magic that develops at the meeting of two cultures.
    • 66 Metascore
    • 50 Critic Score
    Colors has a tentative, ambivalent feel to it--as if Hopper merely considered himself a hired gun who should avoid imposing too personal a vision on the material.
    • 70 Metascore
    • 70 Critic Score
    A surreal, demented delight.
    • 47 Metascore
    • 50 Critic Score
    An intriguing genre hybrid boasting a stronger than usual cast and excellent, atmospheric direction from Finnish newcomer Renny Harlin, Prison is an impressive piece of low-budget genre work.
    • 77 Metascore
    • 88 Critic Score
    Controversial filmmaker John Waters finally hits his commercial stride in this film, parlaying his keen social observation and great compassion for society's outsiders into a colorful and engaging comedy full of dancing, music and heartfelt nostalgia.
    • 66 Metascore
    • 80 Critic Score
    Director Polanski, a master of movie atmospherics (e.g., Chinatown, Rosemary's Baby), here creates a hauntingly foreign, forbiddingly stylish Paris that seems to move to the oneiric disco stylings of Grace Jones. Harrison Ford, outstanding as an American innocent abroad, moves persuasively from complacency to confusion, rage, and paranoid desperation in a performance comparable to James Stewart's best work for Hitchcock.
    • 49 Metascore
    • 25 Critic Score
    A shapeless mess that falls far short of the high expectations created by Lee's first feature, SHE'S GOTTA HAVE IT.
    • 64 Metascore
    • 60 Critic Score
    A sloppy but ambitious mix of pop anthropology, political observation, and good old-fashioned Val Lewtonesque horror, The Serpent and the Rainbow succeeds more often than it fails.
    • 67 Metascore
    • 75 Critic Score
    Good Morning, Vietnam stumbles whenever Williams isn't behind the mike, placing him in melodramatic, hackneyed situations that become increasingly predictable and preposterous, and director Barry Levinson's seemingly endless reaction shots of listeners grooving to the DJ's antics become irritating. Levinson manages, however, to be one of the few filmmakers to show the Vietnamese as complex, cultured people, rather than as helpless victims or the faceless enemy.
    • tbd Metascore
    • 25 Critic Score
    Clumsily designed as a showcase for special effects, this lamebrain kiddie comedy is a shoddily directed and performed attempt to retool Ghostbusters as a latter-day Hardy Boys' mystery. With its wheezing gags and moribund pacing, the film sputters to an overblown finale; the only verve comes from the technical wizardry wasted on this not-so-wild ghost chase.
    • 83 Metascore
    • 80 Critic Score
    Simply stated, it is difficult not to be swept up by this charming picture.
    • 76 Metascore
    • 100 Critic Score
    This grand and powerful biography begins in 1908 when, at the age of three, Pu Yi was named emperor of China and follows him through a tumultuous life inextricably intertwined with the history of modern-day China, one that that ended with the once-coddled emperor working quietly as a gardener at Peking's Botanical Gardens.
    • 84 Metascore
    • 88 Critic Score
    A film whose "TV movie" feel is at once incredibly appropriate and a notable drawback, Broadcast News is nevertheless worthy adult entertainment.
    • 53 Metascore
    • 40 Critic Score
    Overboard aspires to be a wacky, heart-warming screwball comedy, but it is neither memorable nor particularly funny. Hawn and Russell have both shown themselves capable of bringing this kind of light comedy to life, but even their likable screen presences aren't enough.
    • 56 Metascore
    • 75 Critic Score
    Stone intentionally set out to make a good old-fashioned liberal drama about the evils of unchecked capitalism. This approach results in a film with few shades of gray and lots of moralizing speeches, but Stone nearly pulls it off through his usual visual verve and keen casting instincts.

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