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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    • 51 Metascore
    • 63 Critic Score
    Father of the Bride
    The film belongs to Steve Martin, whose crisp, almost bitter delivery, although frequently off-putting, manages to put an edge to a film that, without him, would be mush.
    • 72 Metascore
    • 88 Critic Score
    JFK
    Director and co-screenwriter Oliver Stone pulls off an amazing filmmaking feat with JFK, transforming the dry minutiae of every John F. Kennedy assassination conspiracy theory of the past three decades into riveting screen material.
    • 80 Metascore
    • 75 Critic Score
    Bugsy
    Bugsy is an elegant, knowing, but ultimately heartless homage to the bygone glamour of Hollywood and Vegas.
    • 52 Metascore
    • 50 Critic Score
    The Last Boy Scout
    The story is beholden to the trendy steroid-and-TV world view: pump it up and cut it fast. Still, the dialogue, while fitfully glib, is wry and engaging, like a profane Raymond Chandler on speed. No one acts (in the Stanislavsky sense, anyway) but all perform well.
    • tbd Metascore
    • 40 Critic Score
    Critters 3
    This is really just by-the-numbers moviemaking, the kind of project that would have been made with more zip back in the Corman glory days--if, in that pre-sequel crazy climate, it would have been made at all.
    • 56 Metascore
    • 50 Critic Score
    My Girl
    While no masterpiece, My Girl is a fine example of compassionate and tasteful filmmaking which features a number of charming moments, most of which are provided by Anna Chlumsky and Macaulay Culkin, while Dan Aykroyd (in a mildly eccentric but subdued role reminiscent of his recent turn in Driving Miss Daisy) and Jamie Lee Curtis lend able support.
    • 95 Metascore
    • 100 Critic Score
    Beauty and the Beast
    Beauty And The Beast is a nostalgic feast, drawing shamelessly on the best traditions of screen animation and American musical theater and film. Thoroughly derivative but thoroughly charming.
    • 73 Metascore
    • 70 Critic Score
    Cape Fear
    An exercise in audience manipulation, with every frame designed to stagger the senses.
    • 31 Metascore
    • 25 Critic Score
    Highlander II: The Quickening
    Highlander 2 is beautiful. But it's largely incoherent. The film is desperately overplotted; events and years rush by and pile up like cars in an interstate wreck. It's also terribly overexplained.
    • 57 Metascore
    • 25 Critic Score
    The People Under the Stairs
    The People Under The Stairs doesn't play like a fairy tale; there's nothing fantastic about it, and the happy ending, in which money seems to equal happiness, rings terribly false.
    • 61 Metascore
    • 50 Critic Score
    Two Evil Eyes
    While far from the worst adaptation of Poe's work (there are so many candidates for that dubious honor it's hard to know where to start), Two Evil Eyes breaks no new ground.
    • 77 Metascore
    • 80 Critic Score
    My Own Private Idaho
    Van Sant casts a gently hypnotic spell that is not easily forgotten.
    • 24 Metascore
    • 25 Critic Score
    Cool as Ice
    The performances, surprisingly, are not bad at all. Kristen Minter does well with what she has, as does Vanilla himself. However, it's impossible to take anything seriously--the film's dramatic premise is utterly insupportable and David Kellogg's direction renders the choices flat.
    • tbd Metascore
    • 75 Critic Score
    Puppet Master III: Toulon's Revenge
    Though low-budget sequels are often out of steam by the third go-round, Puppet Master III is a surprisingly lively and entertaining picture.
    • 38 Metascore
    • 25 Critic Score
    Ernest Scared Stupid
    The one highlight occurs during a couple of brief montage sequences which feature Varney mimicking a variety of cartoonish characters. These few moments are actually funny, but prove to be the only amusing moments in the film.
    • 84 Metascore
    • 75 Critic Score
    Homicide
    It's sad that HOMICIDE goes so drastically off the rails, because the first half of the film is a positive joy.
    • 49 Metascore
    • 60 Critic Score
    Ricochet
    Despite a disappointingly obvious ending, Ricochet is a brutally entertaining film.
    • 56 Metascore
    • 60 Critic Score
    Dogfight
    Not unlike her first film, True Love, director Nancy Savoca's big-studio follow-up is more an actor's piece than a fully formed film, its subject yet another rambling contemplation of the rocky relations between the sexes. But it's also no less enjoyable and no less deeply felt.
    • 73 Metascore
    • 75 Critic Score
    The Man in the Moon
    A superb, timeless film which can and should become part of the treasured trove of minimalist art films that live on in memory and experience.
    • 45 Metascore
    • 50 Critic Score
    Necessary Roughness
    While NECESSARY ROUGHNESS admittedly traverses highly familiar territory, with few surprises, it does deserve to be appreciated as a genuinely entertaining, albeit old-fashioned, college football yarn that's great fun to watch.
    • 78 Metascore
    • 90 Critic Score
    A Better Tomorrow
    Woo's direction is clean and direct, with a clarity of purpose behind every scene that makes each wrenching development seem inevitable. It's strong stuff.
    • 67 Metascore
    • 50 Critic Score
    The Fisher King
    The script never resolves the different levels on which it tries to operate, and also throws in too many loose ends which never get cleared up.
    • 56 Metascore
    • 50 Critic Score
    The Indian Runner
    Stranded somewhere between exuberantly bad and merely boring, THE INDIAN RUNNER is a bloated resume film hobbled by a script as slight as the Bruce Springsteen song upon which it's based.
    • 39 Metascore
    • 50 Critic Score
    Freddy's Dead: The Final Nightmare
    FREDDY'S DEAD is one of the weaker entries, with overt violence downplayed, perhaps because Freddy has become something of an institution, star of the silver screen as well as a short-lived TV series and innumerable merchandizing ploys.
    • 73 Metascore
    • 60 Critic Score
    The Commitments
    For all its emphasis on working-class integrity, The Commitments is really Fame wrapped in streetwise packaging.
    • 27 Metascore
    • 50 Critic Score
    Child's Play 3
    Director Jack Bender films all this with enough style that Child's Play 3 never becomes overly boring or tedious, and there's some nicely timed tension and comic bits scattered throughout.
    • 66 Metascore
    • 60 Critic Score
    Dead Again
    However unlikely the twists and turns in this mystery, Dead Again moves briskly forward, never weighed down by any sense of seriousness.
    • 36 Metascore
    • 40 Critic Score
    Harley Davidson and the Marlboro Man
    Don Johnson and Mickey Rourke preen and posture on motorcycles and off in Harley Davidson and the Marlboro Man, a futuristic action adventure that feels desperately like a vanity project.
    • 69 Metascore
    • 70 Critic Score
    Barton Fink
    Ultimately, however, the look, sound and feel of this macabre comedy fail to support any coherent theme...Much is denigrated, but little affirmed.
    • 36 Metascore
    • 25 Critic Score
    Pure Luck
    Danny Glover is an adequate straight man, as both Lethal Weapon pictures demonstrate, and Martin Short can certainly be funny. But they don't really play as a team; you get the feeling that their sheer physical disparity--tall, dark-skinned Glover and tiny, red-haired Short--struck someone as so inherently funny that it didn't matter that the two of them don't ignite comic sparks.
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