TV Guide Magazine's Scores

  • Movies
  • TV
For 5,174 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 2.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Roman Holiday
Lowest review score: 0 The Hottie & the Nottie
Score distribution:
5,174 movie reviews
    • 77 Metascore
    • 25 Critic Score
    Bad teen film unredeemed by aspirations toward significance.
  1. None of this is any more fun as it sounds -- the cancer ward scenes are truly disturbing -- but to be fair, writer/director Lone Scherfeg (the first woman to make a Dogme 95 film) manages some black-humored laughs.
  2. The relentlessly self-congratulatory tone is oppressive.
  3. This stage-bound farce could easily be an American sitcom: It's all slamming doors, eavesdropping and stupid miscommunications, garnished with a heavy-handed helping of comedy of humiliation.
    • 70 Metascore
    • 30 Reviewed by
      Ken Fox
    The screenplay just isn't funny: Most jokes fall flat and just lie there in a pool of their own sick. And while Zwigoff's deadpan pacing was perfect for the wry, sophisticated humor of "Ghost World," here it's a comedy killer; that extra beat after each new outrage is just long enough for viewers to realize just how sad and disturbing it all is.
    • 69 Metascore
    • 30 Reviewed by
      Ken Fox
    If it's all supposed to be in fun, why does it feel so much like an insult?
  4. The films of writer/director Francis Veber are a bracing reminder that French comedies can be every bit as broad, unsophisticated and cliched as their American counterparts.
  5. Insipid, formulaic and suitable for the dumbed-down sensibilities of lowest-common-denominator couch potatoes.
    • 65 Metascore
    • 25 Critic Score
    We never get a real sense of what made these recordings so different or revolutionary. Part of the problem is that re-recorded versions of songs by the actors were used in the film, with vastly mixed results that never match the ferocity and excitement of the original tracks.
  6. Toback quickly reveals himself as an insufferable, opinionated blowhard who pontificates shamelessly about the art of the cinema while indulging his own obsessions on film.
  7. Played for Maverick-like comedy, the film might have coasted on Harris and Mortensen's dialogue. But played straight it's both dull and preposterous.
  8. The loose, rambling conversations that substitute for action might be more interesting if any of the characters were capable of real introspection. But they're so shallow and distracted they can't even manage sustained navel-gazing, which makes their so-called relationships profoundly uninteresting.
  9. The willowy Danes' rich, melancholy characterization is sown in a barren field of snippy attitude and too-cool posturing, and the film's disingenuous air of bittersweet chic becomes deeply tiresome long before it's over.
    • 62 Metascore
    • 38 Critic Score
    This cliche-riddled picture was the directorial debut of veteran cinematographer Michael Chapman, who took no risks in his first time out.
  10. This limp, forgettable fluff is as preachy and heavy-handed as the "Goofus and Gallant" cartoons that a generation of children far less media-savvy than today's recognized as ham-fisted lessons in good behavior masquerading as funny strips.
  11. A stale rehash of Woody Allen-style "he's a neurotic Jew, she's a flaky shiksa" gags.
    • 61 Metascore
    • 38 Critic Score
    Plummer's fearlessness is awesome -- just try to imagine another actress willing to bare so much bony flesh wrapped in clanking chains -- but her character is nevertheless a ranting bore.
  12. Numbingly predictable.
  13. Even generally sympathetic adults may eventually find their minds wandering, if only because of the characters' continual, annoying hopping; being vegetables, they have no legs, you see.
  14. A lovely soundtrack by Irish balladeers the Saw Doctors can't make up for the rest of this belabored labor of love.
  15. Though Keaton is convincing as a smarmy narcissist who secretly thinks he deserves to fail because writing plays isn't REAL work, he's also thoroughly unlikable -- a problematic trait in a protagonist.
  16. If not precisely charismatic, Statham brings authentic athleticism and a certain cheeky presence to his lightly written role.
  17. A self-consciously arty ensemble piece that's alternately exploitative, implausible and cliche ridden.
  18. A leaden, tone-deaf remake of the 1955 Ealing comedy starring Alec Guinness, the Coen brothers' painfully unfunny rehash hinges on the duel of wits between five larcenous oddballs and one sweet but strong-willed old lady.
    • 56 Metascore
    • 38 Critic Score
    Ghostbusters II is such a lazy effort that the formula machinery is laid bare for all to see. It suffers from writing that is obvious, sloppy, and unimaginative.
    • 56 Metascore
    • 38 Critic Score
    Derivative and utterly implausible, ERASER is big-budget action filmmaking at its dullest.
    • 56 Metascore
    • 38 Reviewed by
      Ken Fox
    It's hard to believe this shoddy, dishonest mess is Clark's sixth feature film, and not the unpromising debut of a rank amateur.
  19. An excruciating series of gags aimed at kids old enough to think it's funny when a grown-up acts like a small child.
    • 56 Metascore
    • 38 Reviewed by
      Ken Fox
    More cheerful misogyny from writer-director Henry Jaglom.
    • 55 Metascore
    • 38 Critic Score
    Herman fails to journey beyond the surface-level realities of his central perspective, which makes his film feel half-developed and poorly conceived, and drives it into sensationalism.

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