TV Guide Magazine's Scores

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For 7,979 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 5.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Badlands
Lowest review score: 0 Terror Firmer
Score distribution:
  1. Positive: 3,504 out of 7979
  2. Mixed: 3,561 out of 7979
  3. Negative: 914 out of 7979
7979 movie reviews
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    • 87 Metascore
    • 100 Critic Score
    Goldfinger
    Goldfinger contains more crowd-pleasing moments than any other Bond film, including Oddjob's flying bowler, a laser beam that almost emasculates Bond, the lavishly accessorized Aston Martin DB5, and the bizarre murder of Goldfinger's secretary (Shirley Eaton): she's gilded to death. It also features Shirley Bassey's terrific rendition of the Leslie Bricusse-Anthony Newley title song.
    • 95 Metascore
    • 75 Critic Score
    My Fair Lady
    My Fair Lady, for all its kudos, often seems bloodless and never achieves the heights of the production that ran on the Mark Hellinger Theater stage eight times each week from 1956 through 1962.
    • 42 Metascore
    • 50 Critic Score
    Goodbye Charlie
    Funny but far-fetched entertainment from director Minnelli, who doesn't need to rely on strange plot devices to make a good movie.
    • 50 Metascore
    • 50 Critic Score
    Roustabout
    Slightly better than average Presley fare, Roustabout boasts a better cast than most of the King's films--with Stanwyck's presence lending the production status.
    • 68 Metascore
    • 75 Critic Score
    The Americanization of Emily
    The standout in the cast is Julie Andrews, whose quality of sexy chill has never been used as effectively.
    • 39 Metascore
    • 50 Critic Score
    Woman of Straw
    Hardly a feather in the cap of anyone involved, the film starts out well enough, but the last half degenerates into complete implausibility.
    • 75 Metascore
    • 75 Critic Score
    Fail-Safe
    While this is a wonderful showcase for some fine acting--notably by Fonda--it is not great filmmaking, and one may be left wishing for the biting, off-the-wall satire of Dr. Strangelove.
    • 88 Metascore
    • 80 Critic Score
    Mary Poppins
    One of the greatest children's films ever, MARY POPPINS is as perfect and inventive a musical as anyone could see, with a timeless story, strong performances, a flawless blend of live action and animation, wonderful songs, and a sterling script with all the charm of the P.L. Travers books upon which it is based.
  9. A Hard Day's Night
    Refreshing, innovative and immensely funny.
    • 73 Metascore
    • 80 Critic Score
    Marnie
    Hitchcock's most liberated and poetic film, Marnie is a masterpiece of psychological mystery that encompasses all of the director's obsessions.
    • 72 Metascore
    • 75 Critic Score
    The Killers
    Though the film does not stand up to the 1946 version with Burt Lancaster, it has its own pleasures, including Marvin's rather likable role of an assassin, the exciting robbery sequence, and, of course, the villainous Reagan getting his just desserts.
    • 77 Metascore
    • 80 Critic Score
    The Masque of the Red Death
    While Corman may veer dangerously close to pretention, his crisp staging and confident visual style keep the film from collapsing under its own weight.
    • 70 Metascore
    • 100 Critic Score
    A Shot in the Dark
    The picture is filled with one sight gag after another, many familiar to anyone old enough to remember the glory days of silent comedy.
    • 77 Metascore
    • 100 Critic Score
    Zulu
    Set in 1879 in Natal, this magnificently staged, brilliantly acted film tells the story of the heroic defense by overwhelmingly outnumbered British troops of the tiny outpost Rorke's Drift.
    • 57 Metascore
    • 25 Critic Score
    The Patsy
    This is one of Lewis' lesser efforts, with his appearances on the Ed Sullivan Show drawing the only real laughs.
    • 54 Metascore
    • 25 Critic Score
    Bedtime Story
    A disappointing attempt at comedy, considering the names of the creators and the adroitness of the stars.
    • 83 Metascore
    • 80 Critic Score
    From Russia with Love
    Written with enough self-consciously campy humor to defuse the paranoid ideologies running rampant here, FROM RUSSIA WITH LOVE is also acted with tongues held firmly in cheek.
    • 61 Metascore
    • 50 Critic Score
    The Chalk Garden
    The original seemed to convey more tension and suspense. In the film everything is painfully predictable.
    • 69 Metascore
    • 75 Critic Score
    Viva Las Vegas
    Presley's one really good musical, mainly because it features a female costar, Ann-Margret, who can match the coiffed one in the charisma stakes.
    • 91 Metascore
    • 100 Critic Score
    An Autumn Afternoon
    No great director confined both his subject matter and technique like Yasujiro Ozu, and this, his final film, sums up so much of what makes that tunnel vision so eloquent.
    • 54 Metascore
    • 40 Critic Score
    The Evil of Frankenstein
    The only one of the Hammer Frankenstein films not directed by Terence Fisher, this is, consequently, one of the weakest entries in the series.
    • 82 Metascore
    • 75 Critic Score
    Black Sabbath
    Three solid and scary tales of terror from the undisputed master of Italian horror, Mario Bava.
    • 83 Metascore
    • 75 Critic Score
    The Naked Kiss
    The Naked Kiss is Fuller's most developed and unrelentingly bleak view of the dark underbelly of American society.
    • 66 Metascore
    • 50 Critic Score
    Dead Ringer
    Davis has a chance to let it all hang out in the two roles and she does.
    • 73 Metascore
    • 80 Critic Score
    Seven Days in May
    Seven Days in May smacks of realism, from its skillfully realized sets to its wholly believable supporting performances by O'Brien, Balsam, and John Houseman. Sure to keep you on the edge of your seat.
    • 58 Metascore
    • 60 Critic Score
    Sunday in New York
    It's a lightweight piece with not much of a plot but plenty of amusing lines in the middle of familiar situations.
    • 97 Metascore
    • 100 Critic Score
    Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
    The film is a model of barely controlled hysteria in which the absurdity of hypermasculine Cold War posturing becomes devastatingly funny--and at the same time nightmarishly frightening in its accuracy.
    • 42 Metascore
    • 40 Critic Score
    Children of the Damned
    It seems the children's grim purpose on earth is to be destroyed in a violent manner, enabling fearful, warlike, and ignorant modern man to learn a valuable lesson about himself.
    • 61 Metascore
    • 50 Critic Score
    The Sword in the Stone
    The high point of the picture is the antics of Merlin; at one point he's hilariously funny in his absentmindedness, and the next he shows his cunning.
    • 72 Metascore
    • 50 Critic Score
    America America
    A nicely told, occasionally highly emotional story, but the main purpose of the film seems to be to give writer-director Elia Kazan an excuse to pat himself on the back.
    • 83 Metascore
    • 100 Critic Score
    Charade
    Charade is a finely crafted thriller that has a lot to offer beyond its clever plot. The radiant Hepburn's romance with the suave Grant is delightfully handled; the Oscar-nominated theme song by Henry Mancini and Johnny Mercer is superb; the location photography is exquisite and the rooftop fight scene between Grant and Kennedy is truly harrowing.
    • 90 Metascore
    • 75 Critic Score
    High and Low
    In HIGH AND LOW Kurosawa succeeds in developing a highly visual structural style within the wide-screen format.
    • 87 Metascore
    • 75 Critic Score
    The Incredible Journey
    Featuring some astonishing acting from the highly trained animal stars and some beautiful shots of the Canadian high country, this simply told, episodic tale is great for kids and not too bad for big people either.
    • 62 Metascore
    • 60 Critic Score
    McLintock!
    Loud and brassy, Wayne does a good job in his broad comedy role, although it is doubtful that the picture could have gotten away with the spanking scene if it were made today.
    • 59 Metascore
    • 60 Critic Score
    It's a Mad, Mad, Mad, Mad World
    This comic extravaganza starts off funny, but exhausts rather than delights.
    • 83 Metascore
    • 80 Critic Score
    Knife in the Water
    Brilliantly told and well-acted, Polanski's half tongue-in-cheek, lugubrious and sinister filmic style seemed quite refreshing at the time.
    • 77 Metascore
    • 100 Critic Score
    Tom Jones
    A rollicking comedic condensation of Fielding's sprawling novel about a lusty young man's adventures in 18th-Century England.
    • 61 Metascore
    • 75 Critic Score
    Lilies of the Field
    This was a small, low-budget picture that went straight for the heart and succeeded critically as well as financially.
    • 51 Metascore
    • 75 Critic Score
    The V.I.P.s
    A slick, glossy multi-character soap opera set in London's airport.
    • 74 Metascore
    • 75 Critic Score
    The Haunting
    An undeniably effective adaptation of the Shirley Jackson novel and one of the best haunted-house movies.
    • 67 Metascore
    • 50 Critic Score
    Lord of the Flies
    There are some vicious highlights, but the acting is wildly variable, and the film manages to be both overwrought and dull.
    • 64 Metascore
    • 75 Critic Score
    Dementia 13
    Francis Ford Coppola's first mainstream feature (after a few unremarkable skin flicks) is a little gem of gothic horror, stylishly helmed on a shoestring budget.
    • 58 Metascore
    • 75 Critic Score
    The Thrill of It All
    Another in a surprisingly good series of romantic comedies starring Doris Day from producers Ross Hunter and Martin Melcher.
    • 86 Metascore
    • 100 Critic Score
    The Great Escape
    Expertly directed and written with an infectious undercurrent of wry humor, this classic WWII POW escape yarn features an all-star cast of hardened Allied prisoners who the Germans have thrown together in a special escape-proof camp.
    • 40 Metascore
    • 50 Critic Score
    King Kong vs. Godzilla
    On the plus side, King Kong Vs. Godzilla had a higher budget than most films, and it shows.
    • 93 Metascore
    • 100 Critic Score
    8½
    8 1/2 is a grab-bag of Felliniesque delights, with stunning photography by Di Venanzo, superb performances, a haunting score from Nino Rota, and a labyrinthine structure that keeps the viewer in a pleasurable state of confusion.
    • tbd Metascore
    • 60 Critic Score
    PT 109
    The long section during which Kennedy and crew (including Ty Hardin, Robert Culp, and James Gregory) get to know each other is slow going, but the action scenes are generally worth the wait.
    • 69 Metascore
    • 75 Critic Score
    Jason and the Argonauts
    Harryhausen is at his most creative and brilliant (except for the disappointing bronze Titan), the film is well directed by Don Chaffey and adequately acted as these things go. Featuring gorgeous Mediterranean photography and a rousing Bernard Herrmann score, making this a great film for kids that will also please adult viewers. A must-see.
    • 62 Metascore
    • 50 Critic Score
    The Mouse on the Moon
    This doesn't come close to the original in wit, style, or farce, although if the former had never been made, THE MOUSE ON THE MOON could weakly stand on its own as a mild comedy.
    • 60 Metascore
    • 50 Critic Score
    Cleopatra
    This is not a film---it's a deal, decorated with extensive publicity, but weighed down by listless direction and lots of nasal talk, talk, talk.
    • 64 Metascore
    • 50 Critic Score
    Donovan's Reef
    The verdant, lush Hawaiian setting is visually stunning but the slapstick is forced and unbecoming.
    • 63 Metascore
    • 60 Critic Score
    Irma la Douce
    Far too long for a lighthearted farce, with dull patches that outnumber the high spots, the film is really about Maclaine and Lemmon striving to rise above the fat Diamond-Wilder script and Wilder's lethargic direction.
    • 62 Metascore
    • 75 Critic Score
    Hud
    Newman's performance is unquestionably the best thing about this brutal portrait of humanity.
    • 78 Metascore
    • 75 Critic Score
    Dr. No
    A solid, surprisingly modest spy thriller, enlivened by Sean Connery's screen charisma and occasional hints of the extravagance to come.
    • 90 Metascore
    • 100 Critic Score
    The Birds
    Hailed as one of Hitchcock's masterpieces by some and despised by others, The Birds is certainly among the director's more complex and fascinating works.
    • 74 Metascore
    • 100 Critic Score
    Days of Wine and Roses
    Edwards's direction was smooth and neither he nor Miller ever took a stance or moralized. They just showed what it was like to be an alcoholic in the 1960s and let the audience draw its own conclusions.
    • 88 Metascore
    • 80 Critic Score
    To Kill a Mockingbird
    A hauntingly nostalgic portrayal of childhood mischief set in a racially divided Alabama town in the 1930s. If the film's tone sometimes seems overly righteous, it's offset by a poetic lyricism that is difficult to resist embracing.
    • 48 Metascore
    • 50 Critic Score
    Mutiny on the Bounty
    It's obvious that director Milestone could not control Brando for a moment and that the famous, sometimes brilliant actor directed himself. His is one of the most impossible performances in screen history, infecting Harris, who plays a sort of seagoing Iago and is equally hammy and unbelievable.
    • 75 Metascore
    • 100 Critic Score
    What Ever Happened to Baby Jane?
    As in the best Hitchcock movies, suspense, rather than actual mayhem, drives the film.
    • 71 Metascore
    • 75 Critic Score
    Period of Adjustment
    If anyone else but Williams had written this stage play, it might have been hailed by everyone.
    • 94 Metascore
    • 90 Critic Score
    The Manchurian Candidate
    But it is Angela Lansbury's incestuous, power-mad mother who makes your blood run cold. This was the peak of the first part of her career, which depended upon these hardbitten kind of characters. Forget Hitchcock--here's the monster mother of all time.
    • 75 Metascore
    • 100 Critic Score
    The Longest Day
    The Longest Day is visually stunning--its extraordinary camera movement and Cinemascope photography brilliantly augmenting the meticulously reenacted battle scenes. The only thing bigger than the film's scope are its stars.
    • 87 Metascore
    • 60 Critic Score
    Cléo from 5 to 7
    Literally, a slice of life.
    • tbd Metascore
    • 50 Critic Score
    The Brain That Wouldn't Die
    This is a really strange movie, and it contains so many outlandish, peculiar, grotesque, and incongruous moments that it becomes downright surreal.
    • 83 Metascore
    • 100 Critic Score
    The Miracle Worker
    The film is a harrowing, painfully honest, sometimes violent journey, astonishingly acted and rendered.
    • 68 Metascore
    • 75 Critic Score
    Tales of Terror
    With both Lorre and Price having a grand time poking fun at the material and themselves. The final story has several memorable moments.
    • 76 Metascore
    • 75 Critic Score
    Birdman of Alcatraz
    The Birdman of Alcatraz has great production values, moving if sometimes plodding, overly deliberate scripting, and efficient direction from black-and-white specialist Frankenheimer which strives mightily to overcome the essentially static nature of the storyline.
    • 76 Metascore
    • 75 Critic Score
    Hell Is for Heroes
    A film with uncomfortable things to say about the nature of heroism--and one to see for that reason.
    • tbd Metascore
    • 60 Critic Score
    Boys' Night Out
    Unpretentious social satire that manages to poke a few deserved jabs at modern man's ego. The laughs are a bit sparse, but the witty cast helps carry it along.
    • 76 Metascore
    • 75 Critic Score
    The Music Man
    A nostalgic mix of corn, laughs, exuberance, and infectious songs.
    • 79 Metascore
    • 100 Critic Score
    Lolita
    A fascinating if problematic early film from Stanley Kubrick, perhaps the most obsessive of the great auteurs of the 1960s, made just on the cusp of a run of cinematic masterpieces.
    • 55 Metascore
    • 40 Critic Score
    The Road to Hong Kong
    The last of seven "Road to" pictures and an awkward attempt at re-creating the fun of the previous films, this one has a few funny moments, but it's so filled with inside jokes that a lot of it will be lost on anyone who hasn't seen the other six movies in the series.
    • 92 Metascore
    • 100 Critic Score
    Ride the High Country
    Peckinpah's attention to detail and character makes this film a multifaceted jewel to be studied and enjoyed again and again. The honest, subtle, and consummately skillful performances by Scott and McCrea and promising newcomer Mariette Hartley continue to draw viewers in.
    • 73 Metascore
    • 75 Critic Score
    Burn, Witch, Burn
    An effective climax shows a stone eagle coming to life, proving once again that behind every great man, etc.
    • 97 Metascore
    • 100 Critic Score
    Jules and Jim
    Francois Truffaut's greatest achievement, Jules and Jim is a shrine to lovers who have known obsession and been destroyed by it.
    • 94 Metascore
    • 75 Critic Score
    The Man Who Shot Liberty Valance
    The movie is certainly above average, thanks to the performances by Stewart and Wayne, but Marvin is so flamboyant a badman that he is simply a caricature, even more so than in his outlandish Oscar-winning turn in Cat Ballou.
    • 76 Metascore
    • 80 Critic Score
    Cape Fear
    Suspenseful and very frightening, thanks to Robert Mitchum's lethally threatening performance and the frightened reactions of a pro cast.
    • 69 Metascore
    • 75 Critic Score
    Experiment in Terror
    Edwards' direction is effective, although he relies too heavily on overhead and boom shots to show his action scenes.
    • 75 Metascore
    • 80 Critic Score
    Testament of Orpheus
    A pure, personal poem from one of the greats, THE TESTAMENT OF ORPHEUS allows Cocteau to live on forever.
    • 53 Metascore
    • 40 Critic Score
    Sweet Bird of Youth
    Most of it comes across as overheated nonsense, but Page's egomaniacal telephone soliloquy at the film's climax is reason enough to tune in.
    • 84 Metascore
    • 75 Critic Score
    Through a Glass Darkly
    The usual fine performances from Bergman's regulars combined with a script that is not as ponderous as much of the director's other works earned THROUGH A GLASS DARKLY an Academy Award for Best Foreign Film of 1961 and an Oscar nomination in 1962 for Best Screenplay.
    • 58 Metascore
    • 75 Critic Score
    Lover Come Back
    Perhaps the best Hudson-Day film.
    • 85 Metascore
    • 80 Critic Score
    Victim
    A liberal film on the subject of homosexuality rather than the radical film some considered it at the time, Victim still stands as an intelligent film attempting to address an important social issue.
    • 87 Metascore
    • 80 Critic Score
    Good Morning
    Good Morning is thoroughly enjoyable comedy that, somewhat atypically for director Yasujiro Ozu, is sunny throughout, without the darkness or sense of melancholy that rests under the surface of most of this gentle director's work.
    • 49 Metascore
    • 75 Critic Score
    The Children's Hour
    The performances range from adequate (Balkin's) to exquisite (MacLaine's), and the movie broke new ground for 1961. These days the story wouldn't be all that controversial, but in 1934, when the play was first presented, it dealt with a different set of mores.
    • 60 Metascore
    • 80 Critic Score
    Judgment at Nuremberg
    Though unrelentingly bleak, Judgment at Nuremberg is absorbing from beginning to end.
    • 73 Metascore
    • 75 Critic Score
    One, Two, Three
    This film begins at mach one and gets somewhere near the speed of light by the time it finishes.
    • 79 Metascore
    • 75 Critic Score
    El Cid
    Eleventh-century Spain has been lavishly recreated by Mann and producer Samuel Bronston. The photography by Robert Krasker is spectacular, as are the battle scenes, filmed with the help of veteran stuntman Yakima Canutt as second-unit director.
    • 55 Metascore
    • 50 Critic Score
    Babes in Toyland
    A generally disappointing film, with only Bolger and Wynn to recommend it.
    • 86 Metascore
    • 80 Critic Score
    West Side Story
    When it's good, very good; when it's bad, a stinker.
    • 58 Metascore
    • 50 Critic Score
    Blue Hawaii
    Depending on your level of Elvis fandom, you'll either find this a typically fluffy Presley vehicle with mainly forgettable tunes--save the hit I Can't Help Falling in Love--or none of that will matter.
    • 55 Metascore
    • 50 Critic Score
    The Comancheros
    The Comancheros is not a terrible film; in fact much of it is entertaining. But it is obviously the effort of two talented men far from their peak powers.
    • 74 Metascore
    • 60 Critic Score
    Splendor in the Grass
    Youth exploitation pictures were all the rage at the time, and while this is better than some in execution and intent, it's still exactly that.
    • 77 Metascore
    • 100 Critic Score
    Breakfast at Tiffany's
    One of the great New York films, swathing the city in a layers of dewy love and glossy chic. [Review of re-release]
    • 61 Metascore
    • 50 Critic Score
    Paris Blues
    The story is slim but the jazz is great, especially when legendary Louis Armstrong gets into the act.
    • 90 Metascore
    • 100 Critic Score
    The Hustler
    This dark stunner, based on Walter Tevis's novel, boasts Paul Newman in the role that made him an overnight superstar.
    • 93 Metascore
    • 88 Critic Score
    Yojimbo
    With Mifune's tongue-in-cheek performance and the wildly stylized battle scenes featuring mallet and pistol-wielding samurai, YOJIMBO may just be the first post-modern samurai film.
    • 78 Metascore
    • 75 Critic Score
    Pit and the Pendulum
    Screenwriter Richard Matheson did a fine job of adapting Poe's rather limited (for films) short story by saving the dungeon sequences for the climax and then creating a rather interesting plot line to lead up to it. One of Corman's and AIP's best.
    • 65 Metascore
    • 80 Critic Score
    Scream of Fear
    Full of mysterious twists and turns, this expertly crafted thriller casts Strasberg as the wheelchair-bound step-daughter of Todd.
    • 49 Metascore
    • 40 Critic Score
    Voyage to the Bottom of the Sea
    Its excellent cast, including Walter Pidgeon, Joan Fontaine, and Peter Lorre, play rather predictable characters, but the film boasts some captivating special effects and sets.
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