TV Guide Magazine's Scores

  • Movies
  • TV
Select another publication »
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
view
per page
    • 36 Metascore
    • 40 Critic Score
    Loverboy
    LOVERBOY's "comedy" is a blend of genre-cliches and slapstick, and, not surprisingly, the film delivers few laughs.
    • 58 Metascore
    • 40 Critic Score
    Miss Firecracker
    Director Thomas Schlamme's unsure handling of scenes and indiscriminate use of unappealing close-ups of actors emoting at full steam only emphasize the material's weakness.
    • 57 Metascore
    • 60 Critic Score
    Field of Dreams
    Ultimately, the film relies too heavily on consensual acceptance of baseball iconography as some kind of symbolic shorthand for all kinds of American values. These days, most of us prefer the NBA.
    • 38 Metascore
    • 25 Critic Score
    Pet Sematary
    While the King source material forcefully taps into some deep-seated fears, PET SEMATARY (which was to have been directed by George Romero) squanders its potential through the ham-handed direction of Mary Lambert (SIESTA), who continually goes for visceral shocks at the expense of the more deeply disturbing psychological themes inherent in the material.
    • 20 Metascore
    • 40 Critic Score
    She's Out of Control
    SHE'S OUT OF CONTROL would have done far better in the TV ratings than it did at the box office. It has all the production pluses of national ad campaigns: smart art direction, lighting, and costume design; a catchy mix of old and new rock'n'roll on the soundtrack. Unfortunately, SHE'S OUT OF CONTROL also resembles commercials in that it hopes to appeal to everyone and basically endears itself to no one.
    • 70 Metascore
    • 75 Critic Score
    Dead Calm
    Though it lacks Alfred Hitchcock's wry and macabre sense of humor, DEAD CALM is a cracklingly good, cold-blooded film that never lets up in its truly Hitchcockian suspense. Under the gripping direction of Phillip Noyce, the film sustains tension and power beautifully, right through to its startling conclusion.
    • 54 Metascore
    • 60 Critic Score
    The Dream Team
    Writers Jon Connelly and David Loucka have fashioned a script that works largely because of the efforts of the four capable and credible actors who comprise The Dream Team: Christopher LLoyd, Stephen Furst, Peter Boyle, and Michael Keaton.
    • 24 Metascore
    • 25 Critic Score
    Cyborg
    Martial arts fans will find plenty of action to hold their interest here, but those in search of plot and character are advised to look elsewhere.
    • 86 Metascore
    • 80 Critic Score
    Say Anything...
    Seldom have such complexity, emotional depth, honesty, and realism been invested in what is ostensibly a teen love story.
    • 78 Metascore
    • 75 Critic Score
    Castle in the Sky
    Unusually detailed animation glides hand in hand with the film’s aura of wonderment.
    • 72 Metascore
    • 70 Critic Score
    Heathers
    Dark, cynical, but deliciously funny, Heathers is a fascinating look not just at high school but at the way we look at high school.
    • 32 Metascore
    • 25 Critic Score
    Troop Beverly Hills
    The premise of TROOP BEVERLY HILLS might have worked as a comedy skit, but could hardly sustain a feature, and unfortunately the premise is virtually all the film's screenplay supplies. The lack of character development is particularly damaging for Long--since her character never becomes more than a cartoon, her reformation is never credible.
    • 40 Metascore
    • 40 Critic Score
    Fletch Lives
    Chase delivers a one-note performance, consisting mainly of predictable comebacks and salacious leers, while the characters who become the targets of his witty rejoinders are weak and silly stereotypes. FLETCH LIVES is a custom-built Chevy Chase vehicle throughout; the other performers are only along for the ride.
    • 51 Metascore
    • 50 Critic Score
    Leviathan
    Scientists in an underwater lab are picked off by a monster of the deep in this cheesy hybrid of Alien, The Thing, and The Abyss.
    • 32 Metascore
    • 25 Critic Score
    Cannibal Women in the Avocado Jungle of Death
    Cannibal Women does manage to be on target with its humor from time to time. But there are far more misses than hits as the movie also goes for the corny, the obvious, and the ancient.
    • 69 Metascore
    • 75 Critic Score
    The Adventures of Baron Munchausen
    The narrative is highly episodic and only intermittently engaging, but Gilliam's wildly inventive mise en scene, ably assisted by production designer Dante Ferretti, is extraordinary.
    • 16 Metascore
    • 20 Critic Score
    Police Academy 6: City Under Siege
    On the plus side, POLICE ACADEMY 6 is skillfully photographed by Charles Rosher, Jr., and has a very good soundtrack, supplied by Robert Folk. Unfortunately, high production values are wasted on films this slow-paced and silly.
    • 62 Metascore
    • 50 Critic Score
    Chances Are
    An enjoyable, light-hearted romantic comedy with some cute incestuous undertones, CHANCES ARE is among the best of the body-switch films that cluttered movie screens in the late 1980s.
    • 32 Metascore
    • 40 Critic Score
    Dream a Little Dream
    For a romantic comedy, this offers few laughs and little tenderness, and mainly evokes confusion with its muddled storyline and inept execution.
    • 58 Metascore
    • 50 Critic Score
    Lean on Me
    LEAN ON ME's manipulations justify Clark's drastic methods only superficially, by trivializing legitimate questions regarding Clark's actions.
    • 43 Metascore
    • 25 Critic Score
    Skin Deep
    Ritter lacks the charisma to bring his role off, the slapstick is tiresome, and Edwards' script fails to generate sympathy for Zach or to develop characters.
    • tbd Metascore
    • 25 Critic Score
    American Ninja 3: Blood Hunt
    American Ninja 3 is a comic-book of a movie that goes too far to be a satisfying adventure and not far enough to be an entertaining parody.
    • 50 Metascore
    • 50 Critic Score
    Bill & Ted's Excellent Adventure
    Has an intangibly charming goofiness about it that is somehow endearing: here is a movie about teenagers that contains no excessive profanity, no drug references, and no explicit sexual activity.
    • 71 Metascore
    • 60 Critic Score
    The Mighty Quinn
    The film's crisp photography and energetic soundtrack liven up a mystery that occasionally defies logic and at other times is transparent--but that never loses our interest, primarily because of Washington's masterfully understated performance.
    • 36 Metascore
    • 25 Critic Score
    The Fly II
    This sequel to David Cronenberg's masterful 1986 remake is uninspired, uninvolving, and wholly unnecessary.
    • 24 Metascore
    • 20 Critic Score
    Her Alibi
    HER ALIBI veers with little purpose from bland drama to heavy-handed slapstick, with rhythm, characterization, and plotting better suited to television than the movies.
    • 44 Metascore
    • 20 Critic Score
    Who's Harry Crumb?
    Candy manages to squeeze a few laughs from the crude and cliche-ridden script, but Paul Flaherty directs broadly and obviously, with little feeling for comic pacing.
    • 19 Metascore
    • 40 Critic Score
    Kinjite: Forbidden Subjects
    Bronson does his usual violent-teddy-bear number believably, and the other actors do what they can with the formula script and hack direction.
    • 65 Metascore
    • 50 Critic Score
    Mississippi Burning
    Mississippi Burning is visually splendid. Director Parker and his crew have created a film that is unquestionably watchable. As a history lesson, however, it's laughable.
    • 40 Metascore
    • 40 Critic Score
    Three Fugitives
    This obvious attempt to tap into the same audience that flocked to THREE MEN AND A BABY (indeed, it could have been titled "Two Men and a Toddler") is about as lifeless as they come. Not only is THREE FUGITIVES a scene-for-scene remake of Veber's French original, it is actually shot for shot the same film. Not surprisingly, the resulting film feels mechanical, despite engaging performances from Short and Nolte.
Page:

Top Trailers

See all »
See all trailers »