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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    • 53 Metascore
    • 75 Critic Score
    Next of Kin
    Neither a buddy-buddy action-comedy nor a pyrotechnical showcase of explosions and stunts, NEXT OF KIN--an intelligently made and moodily atmospheric action melodrama--provides solid, satisfying entertainment while demonstrating just how effective a fully realized genre film can be.
    • 50 Metascore
    • 40 Critic Score
    Fat Man and Little Boy
    Despite the considerable creative and technical talents of those involved, Fat Man And Little Boy is slow, stilted, and stultifying.
    • 77 Metascore
    • 70 Critic Score
    Crimes and Misdemeanors
    Fine ensemble acting (Alda and Huston are outstanding), evocative composition and design, intelligent writing, and spritely musical score.
    • 51 Metascore
    • 75 Critic Score
    Look Who's Talking
    Thanks to the ingenious voiceover, however, Look Who's Talking is a genial, entertaining film.
    • 28 Metascore
    • 0 Critic Score
    Halloween 5: The Revenge of Michael Myers
    Frustrating, confusing, loud, and offensive, this horribly bad sequel not only continues to ruin the story line and characters so deftly created by John Carpenter in HALLOWEEN (1978), but sets a new standard of stupidity.
    • TV Guide Magazine
    • 85 Metascore
    • 50 Critic Score
    The Fabulous Baker Boys
    Though full of atmosphere, mood, and attitude, THE FABULOUS BAKER BOYS is all dressed up with no place to go.
    • 82 Metascore
    • 100 Critic Score
    Drugstore Cowboy
    Gus Van Sant's direction here is supremely confident, fusing witty camerawork, neat editing, and a jazz-oriented score to make Drugstore Cowboy an exhilaratingly bumpy ride.
    • 39 Metascore
    • 60 Critic Score
    An Innocent Man
    The plot is almost as old as Hollywood itself, yet the film's ironic, cynical tone gives the material a new spin under the direction of veteran Peter Yates. The script is savvy about the power structures both inside and outside the prison gates, and the fine cast makes the most of the well-crafted dialog and sharply drawn characters.
    • 75 Metascore
    • 75 Critic Score
    Thelonious Monk: Straight, No Chaser
    In its understanding of Monk and its intelligent handling of the Blackwood footage, STRAIGHT NO CHASER really does succeed in presenting Monk in a straight, potent, and undiluted fashion.
    • TV Guide Magazine
    • 60 Metascore
    • 50 Critic Score
    Johnny Handsome
    Hill's action scenes here are surprisingly perfunctory, but his narrative exposition is superb--a model of minimalist restraint in lurid circumstances. Hill also maintains his ability to push his actors in interesting directions here, though Rourke's laconic performance fails to pay off.
    • 56 Metascore
    • 50 Critic Score
    Black Rain
    Director Ridley Scott's visual gifts are still evident in Black Rain. But with retread plot and characters, Scott's stylistic flourishes become irritating clutter.
    • 68 Metascore
    • 60 Critic Score
    A Dry White Season
    Palcy, in what amounts to the casting coup of the year, enlisted the reclusive Brando to make his brief but memorable cameo appearance--his first film role since 1980--for union scale. His performance alone is worth the price of admission to this earnest, somewhat predictable, but moving and significant film.
    • 66 Metascore
    • 75 Critic Score
    Sea of Love
    A thriller featuring a mysterious femme fatale, an involving plot, and some nice offbeat twists, Sea of Love owes a good deal to Hitchcock, and to such recent efforts as Fatal Attraction and Jagged Edge, though it can claim plenty of originality as well.
    • 64 Metascore
    • 25 Critic Score
    The Big Picture
    The Big Picture is a failed attempt to spoof the wheelers and dealers behind the scenes in Hollywood. Christopher Guest, who directed and cowrote this diatribe against the inanities of the studio system, has created what amounts to no more than a series of sketches that would probably work better on television than in this prolonged, belabored movie. 
    • 81 Metascore
    • 80 Critic Score
    Sweetie
    Cruelly honest and pitilessly funny, Sweetie is one of the nakedest explorations of familial love and desperation ever filmed.
    • 33 Metascore
    • 63 Critic Score
    Kickboxer
    Nobody goes to these movies for their comic-book plots, klutzy dialog, or hammy acting--all of which Kickboxer has in abundance. They go for action, and on that level Kickboxer delivers the goods.
    • 52 Metascore
    • 60 Critic Score
    Shirley Valentine
    While some may object to the storytelling techniques employed by playwright and screenwriter Willy Russell to depict his title character, others will find themselves enchanted by Shirley Valentine.
    • 55 Metascore
    • 50 Critic Score
    The Package
    For all its action, suspense, and intricate plotting, THE PACKAGE comes across as a mostly leaden entry in the political-paranoia thriller category.
    • 26 Metascore
    • 40 Critic Score
    Millennium
    An underdeveloped script, anemic direction and pacing, uninspired production design, and miscasting of the two lead roles undermine some intriguing ideas and characters in Millennium. Despite its many deficiencies, however, this sci-fi brain teaser with love story elements is not entirely without interest.
    • 72 Metascore
    • 75 Critic Score
    The Adventures of Milo and Otis
    Shot from the animals' point of view and narrated by Dudley Moore, MILO AND OTIS contains some important messages about the responsibilites of friendship. Slow in spots, but a treat nevertheless.
    • 33 Metascore
    • 38 Critic Score
    Let It Ride
    The major irritant is the hyperactive direction by Joe Pytka, a near-legendary helmer of TV commercials who films each scene as if it were the last, with everybody in the frame strenuously choreographed and overly busy.
    • 75 Metascore
    • 60 Critic Score
    Casualties of War
    Often hypnotic and perversely gripping, but falls apart during its final reel.
    • 54 Metascore
    • 50 Critic Score
    A Nightmare on Elm Street 5: The Dream Child
    One promising note, however, was that the character of Freddy Krueger had recovered some of the evil edge he lost in previous installments.
    • 62 Metascore
    • 50 Critic Score
    The Abyss
    It lacks the emotional impact and suspense of its predecessors and is spoiled by a disappointingly inane ending. What ultimately saves the film are its extraordinary sets and phenomenal Oscar-winning visual effects.
    • 86 Metascore
    • 70 Critic Score
    sex, lies, and videotape
    Beautifully edited by Soderbergh, the film is evenly paced, its subtleties accreting slowly, and by the end it gathers powerful emotional momentum.
    • 52 Metascore
    • 38 Critic Score
    Lock Up
    With nothing in the way of performance to cling to, the audience is left to marvel at the mounting inanity of each scene.
    • 82 Metascore
    • 88 Critic Score
    Parenthood
    While Parenthood crosses the border into schmaltz a number of times, the movie runs the gamut of realistic emotions, and one scene or another is bound to hit home with the parents who see the film.
    • 85 Metascore
    • 100 Critic Score
    Kiki's Delivery Service
    Deliberately eschewing the fast pace, strenuous action, frenzied special effects and wall-to-wall songs of the standard Disney animated feature, the film allows the audience to get to know the character of Kiki and feel the emotional highs and lows she undergoes in the course of her year in training.
    • 36 Metascore
    • 40 Critic Score
    Turner & Hooch
    Five people were credited with co-writing TURNER & HOOCH, and rarely have so many labored to so little effect. There's barely enough to make up an agreeable made-for-TV movie in this film.
    • 14 Metascore
    • 20 Critic Score
    Friday the 13th Part VIII: Jason Takes Manhattan
    During all of this tediously staged action, the virginal female heroine, Rennie Wickham (Jensen Daggett), suffers hallucinations about the young Jason. Not surprisingly, these scenes — which feel as if they belong in another movie — are among the most effective in the film, a welcome distraction from the mundane mechanics of the rest of this predictable effort.
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