TV Guide Magazine's Scores

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For 7,785 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 4.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 The Night of the Hunter
Lowest review score: 0 Terror Firmer
Score distribution:
  1. Positive: 3,401 out of 7785
  2. Mixed: 3,495 out of 7785
  3. Negative: 889 out of 7785
7785 movie reviews
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    • 59 Metascore
    • 80 Critic Score
    The Magician
    Whether or not The Magician rises to the level of its cinematic predecessors may be up for debate, but thanks to a smart, cleverly constructed screenplay and a compelling lead performance, Ryan’s film displays a flair for storytelling that’s notably lacking in many first-time features. It’s a great addition to the Blue Tongue catalogue, and it’ll be interesting to see where Ryan turns up next.
    • 75 Metascore
    • 100 Critic Score
    Funny Face
    This film exists only for its glamorous visuals, gorgeous Gershwin music, and the dancing choreographed by Astaire and Eugene Loring.
    • 96 Metascore
    • 100 Critic Score
    Sansho the Bailiff
    Perhaps Kenji Mizoguchi's greatest achievement, SANSHO THE BAILIFF is a visually mesmerizing picture that pays great and careful attention to the smallest details of nature and environment, highlighted by Mizoguchi's use of the long take and deep-focus shots.
    • 45 Metascore
    • 60 Critic Score
    The Tomorrow War
    The first hour of The Tomorrow War is really quite dumb fun. The second half pumps the brakes on the wacky sci-fi and just goes in for gross-out action.
    • 85 Metascore
    • 100 Critic Score
    The Wages of Fear (1953)
    Excellent, but nasty stuff.
    • 85 Metascore
    • 80 Critic Score
    Wake in Fright (1971)
    The film’s only flaw is a minor one: Some of the stylistic devices, such as the rapid-fire montages of vile and depraved images, have aged poorly. But that in no way detracts from the visceral power of the backslide into the abyss that we experience along with the central character.
    • 96 Metascore
    • 100 Critic Score
    Children of Paradise (1945)
    Deliberately theatrical but nevertheless greatly indebted to French poetic realism, Children of Paradise is lovingly handled by director Carne. The entire film is crammed with incident and an intoxicating eye for detail.
    • 70 Metascore
    • 88 Critic Score
    The Cat Returns (2002)
    Director Morita does an exemplary job of bringing a Japanese graphic novel to the screen.
    • 77 Metascore
    • 75 Critic Score
    The Harder They Come
    The filmmaking is a bit crude at times but it packs an emotional wallop.
  10. Fyre
    It's a defining true crime story for the Internet age.
    • tbd Metascore
    • 40 Critic Score
    Phantasm IV: Oblivion
    On the positive side, Coscarelli makes ingenious use of the clips from the original film, and comes up with the occasional creepy moment. But more often, PHANTASM: OBLIVION is extremely slow-paced and works only on a scene-by-scene basis rather than as a coherent whole.
    • 70 Metascore
    • 50 Critic Score
    Reefer Madness
    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
    Mr. Majestyk
    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
    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
    Patriot Games
    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
    Guess Who's Coming to Dinner
    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
    Hot Shots!
    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
    Three Amigos!
    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.
    • 45 Metascore
    • 75 Critic Score
    The 'Burbs
    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
    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
    Jumpin' Jack Flash
    Intermittently amusing, forgettable action spoof showcasing Whoopi Goldberg and helmed by Penny Marshall.
    • 70 Metascore
    • 50 Critic Score
    The Adventures of Buckaroo Banzai Across the 8th Dimension
    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.
    • 88 Metascore
    • 100 Critic Score
    The Innocents
    The Innocents manipulates the viewer's imagination as few films can, with Kerr and Redgrave doing a masterful job of creating a sense of repressed hysteria.
    • 68 Metascore
    • 75 Critic Score
    Police Story 2 (1988)
    This sequel may be a bit thin on plot, but who cares when Jackie Chan is at his daredevil best?
    • 60 Metascore
    • 88 Critic Score
    Funny People
    The result is a raucously funny and poignant love letter to standup comics.
    • 28 Metascore
    • 50 Critic Score
    The Ugly Truth
    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
    G-Force
    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
    Harry Potter and the Half-Blood Prince
    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
    I Love You, Beth Cooper
    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
    Bruno
    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.
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