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 4.9 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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    • 70 Metascore
    • 88 Critic Score
    Cronos
    An offbeat and in some ways, more daring variation on vampirism
    • 63 Metascore
    • 60 Critic Score
    Naked Gun 33 1/3: The Final Insult
    Of the Naked Gun films, 33 1/3 is the most successful in capturing the breakneck genre parody that marked the short-lived but critically acclaimed Police Squad TV series (which won Nielsen his only Emmy). Taking broad pot shots at everything from Thelma & Louise to The Crying Game, and culminating with a breathless swipe at the sacred cow of the movie industry, the Academy Awards.
    • 70 Metascore
    • 60 Critic Score
    The Paper
    Director Ron Howard attempts the Great American Newspaper Picture and mostly pulls it off. The film's greatest weakness is that he and screenwriters David and Stephen Koepp (the latter a journalist himself) love those scrappy newshounds too much; THE PAPER doesn't even try for the appropriately acid bite of, say, any version of THE FRONT PAGE.
    • 62 Metascore
    • 50 Critic Score
    Bitter Moon
    BITTER MOON is entertaining, but in the manner of ghastly car crashes and legendary theatrical disasters; you can't take your eyes off it, but you often want to.
    • 50 Metascore
    • 75 Critic Score
    Guarding Tess
    In its small way, however, it succeeds, thanks to director Hugh Wilson's light touch and the chemistry between leads Shirley MacLaine and Nicolas Cage.
    • 53 Metascore
    • 75 Critic Score
    The Hudsucker Proxy
    A lavish parody of/homage to Hollywood big business comedies, The Hudsucker Proxy is gorgeous but lifeless, a very small joke writ very large by the talented but perversely insular Coen brothers.
    • 64 Metascore
    • 75 Critic Score
    Sirens
    SIRENS is a rare, genuinely erotic film that's a pleasure to watch even when its characters are fully clothed.
    • 59 Metascore
    • 60 Critic Score
    The Ref
    If THE REF lived up to its early scenes, it would be a very funny movie indeed, but it soon sinks into a blandly commercial rut that slowly drains away what bitter energy it has.
  9. Four Weddings and a Funeral
    With grace and cleverness, mixing romance and comedy in a genuinely delightful way.
    • 73 Metascore
    • 60 Critic Score
    What's Eating Gilbert Grape
    The film is heavy on character and atmosphere and light on action, though what does happen is so bizarre as to verge on the ridiculous.
    • 50 Metascore
    • 50 Critic Score
    Sugar Hill
    Intended as more than a simple genre flick, SUGAR HILL aspires to something like classical tragedy, but it's weighed down by its sense of self-importance.
    • 54 Metascore
    • 50 Critic Score
    Blue Chips
    A good concept fails to become a good movie in this predictable tale of corruption in college basketball, featuring the ubiquitous superstar and corporate pitchman Shaquille O'Neal.
    • 67 Metascore
    • 50 Critic Score
    Reality Bites
    In fact, it's often genuinely funny--but it's still an establishment picture pretending it's not.
    • 33 Metascore
    • 40 Critic Score
    On Deadly Ground
    Loud, stupid and clumsy.
    • 51 Metascore
    • 50 Critic Score
    The Getaway
    Alec Baldwin and Kim Basinger step into the roles originally played by Steve McQueen and Ali MacGraw, but their attempts to inject steamy romance into the action are undermined by indifferent direction.
    • 37 Metascore
    • 75 Critic Score
    Ace Ventura: Pet Detective
    Ace Ventura: Pet Detective marks the ascendance of a new star in film farce, as Jim Carrey elevates this stupid, suprisingly shoddy picture into the comedy stratosphere, mainly thanks to his Gumby-like ability to contort his face and body in the most amazing ways.
    • 42 Metascore
    • 40 Critic Score
    My Father the Hero
    Its real star is the picturesque tropical scenery.
    • 50 Metascore
    • 63 Critic Score
    Romeo Is Bleeding
    Mona Demarkov may not be a convincing woman, but she's an awe-inspiring embodiment of the female principle at its most devouring, Medusa, Kali, and praying mantis all rolled into one frilly, garter-wrapped package.
    • 81 Metascore
    • 80 Critic Score
    The Scent of Green Papaya
    As an evocation of things past, THE SCENT OF GREEN PAPAYA is a remarkable and modestly enchanting film.
    • 10 Metascore
    • 25 Critic Score
    Car 54, Where Are You?
    CAR 54, WHERE ARE YOU? adds nothing to the police comedy genre that another POLICE ACADEMY couldn't provide.
    • 25 Metascore
    • 40 Critic Score
    Death Wish V: The Face of Death
    Although this entry is competently directed, the series seems to have lost the zip and flashes of wit that made the first Death Wish so memorably repellent.
    • 65 Metascore
    • 50 Critic Score
    Body Snatchers
    Although Body Snatchers is a competent genre piece with Freudian fillips, there's little there to justify another go-round for what is by now very familiar material.
    • 56 Metascore
    • 40 Critic Score
    Iron Will
    So pleased is this film with its own sanctimony that children forced to sit through it may end up joining gangs, defacing the walls at Bible school, and questioning their parents' sincerity.
    • 21 Metascore
    • 50 Critic Score
    Cabin Boy
    Fans of unashamedly low-brow comedies may well be amused by the eccentricities of Cabin Boy, but more conventional viewers should probably beware.
    • 78 Metascore
    • 75 Critic Score
    The War Room
    Veteran documentarians D.A. Pennebaker and Chris Hegedus make fine use of traditional verite techniques--hand-held cameras, extended long takes--to create a compelling, dramatic portrait that should appeal to anyone with even the slightest interest in the political process.
    • 84 Metascore
    • 88 Critic Score
    In the Name of the Father
    Though the facts have been manipulated in the interests of drama--Gerry and Giuseppe were never imprisoned together, etc.--this has been done in a brave and responsible way, shedding light on an important episode in recent history.
    • 34 Metascore
    • 25 Critic Score
    Ghost in the Machine
    The special effects are good, with some nifty computer-generated animation, but they're an empty, ineffective crutch on which to support an entire film--and besides, better visuals had already appeared in THE LAWNMOWER MAN.
    • 53 Metascore
    • 63 Critic Score
    Grumpy Old Men
    All things considered, Grumpy Old Men might have fared better re-worked as a domestic drama that took full advantage of its talented cast, with the lame funnybone attempts left, like the ubiquitous dead fish, buried in the backseat.
    • 50 Metascore
    • 50 Critic Score
    Tombstone
    Though apparently conceived as a revisionist Western, Tombstone falls prey to the cliches of the genre, and its last third is a muddle.
    • 65 Metascore
    • 80 Critic Score
    Batman: Mask of the Phantasm
    There is much to admire here. A surreal battle between Batman and the Joker amid skyscrapers and elevated trains in a miniaturized Gotham City stands out, as does an extended sequence in which our hero is hunted by police SWAT teams. The most impressive piece of animation is the opening credit sequence: a stunning two-minute, computer-generated 3D flight through Gotham City. This absorbing adventure should resonate with those who take the notion of heroism seriously--especially adolescent boys.
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