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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per page
    • 54 Metascore
    • 60 Critic Score
    Brighton Beach Memoirs
    Director Saks, who won a Tony for his stage direction, works in his typically fish-out-of-water fashion here, trying to put some air into a stagebound work, but much of the spontaneity of the theater version seems to have been supplanted by the mechanics of moviemaking. The acting by a very talented cast is generally quite good, even if Danner doesn't convince as an old-fashioned Jewish mother type. More of a nostalgic piece than a story, the film shows an attention to the specifics of the culture on display which has genuine if modest appeal.
    • 81 Metascore
    • 75 Critic Score
    Little Shop of Horrors
    Although an impressive technical achievement, the film itself is a rather overblown and overhyped affair--which, for all its expensive excess, fails to recapture the spirit of the original.
    • 92 Metascore
    • 90 Critic Score
    Platoon
    PLATOON is a shattering experience. Writer-director Stone, a Vietnam veteran, used his first-hand knowledge to create one of the most realistic war films ever made, one whose success lies in the mass of detail Stone brings to the screen, bombarding the senses with vivid sights and sounds that have the feel of actual experience.
    • 32 Metascore
    • 25 Critic Score
    King Kong Lives
    In all fairness, there is a lot of camp value here. Fans of truly bad cinema couldn't ask for a sillier big-budget production--envisioned with the utmost seriousness.
    • 53 Metascore
    • 80 Critic Score
    Heartbreak Ridge
    The strengths and foibles of human beings are what this film--and all of Eastwood's directorial efforts--is all about, and his Tom Highway is one of the most vividly etched male characters seen onscreen in years.
    • 51 Metascore
    • 88 Critic Score
    The Mosquito Coast
    A courageous and serious film that explores the limits of the mythic American virtues of persistence, inventiveness, and rugged individualism.
    • 71 Metascore
    • 75 Critic Score
    Star Trek IV: The Voyage Home
    By far the silliest and most self-mocking of the series, with the interplay between Spock and Kirk veering somewhere between Hope and Crosby and Cheech and Chong, but also one of the most successful.
    • 24 Metascore
    • 10 Critic Score
    Solarbabies
    The acting is lame and the rehashed script is silly. The film drags on and on until its obvious and none-too-thrilling conclusion. This is a film to punish the kids with if their behavior grows intolerable.
    • 38 Metascore
    • 40 Critic Score
    An American Tail
    The story is moving, and the animation includes some powerful images, although some of the early scenes depicting the suffering of the mice in Russia may be too frightening for younger viewers.
    • 39 Metascore
    • 20 Critic Score
    The Wraith
    Director-writer Mike Marvin is obviously working out of his element, which consists of ski films and features with titles of things you eat or drink (Six Pack; Hot Dog--The Movie; and Hamburger). The best thing here are the cars, which have no dialog and just stand around looking fast. Sheen's is a specially built Dodge pace car that cost over $1.5 million.
    • 37 Metascore
    • 25 Critic Score
    Firewalker
    Instead of the witty, intelligent script needed to pull off an interracial buddy story, however, the scenario for this film is an obvious lift from RAIDERS and a flat, uninteresting piece of writing, occasionally interspersed with embarrassingly sappy affirmations of friendship.
    • 77 Metascore
    • 70 Critic Score
    Hoosiers
    The film clearly functions as wish-fulfillment for the kind of people who are nostalgic about all-white basketball, leaving a nasty aftertaste.
    • tbd Metascore
    • 50 Critic Score
    Willy/Milly
    An enjoyable, low-key film, Something Special! boasts some fine acting from its teenage cast.
    • tbd Metascore
    • 50 Critic Score
    Slaughter High
    The story line is as direct as can be, and little time is wasted with extraneous subplots. Very effective use is made of the location, a decaying old school building that would give anyone the creeps. Good performances by Scuddamore, Iannaccone, and veteran B-movie starlet Munro further enhance the film. The effects are rather good but not too gross, tending to be near-comic.
    • 44 Metascore
    • 50 Critic Score
    Every Time We Say Goodbye
    Director Moshe Mizrahi (best known for his 1977 Oscar-winning feature, MADAME ROSA) fails to make much of the narrative's potentially fascinating time and place, other than throwing out a couple of token observations about British colonial rule.
    • 73 Metascore
    • 88 Critic Score
    Something Wild
    With a screenplay from first-time screenwriter E. Max Frye and superior performances from his principal cast, Demme has created a unique and likable film.
    • 76 Metascore
    • 80 Critic Score
    Sid and Nancy
    The performances of Oldman and Webb, both stage-trained veterans, are simply astonishing. Sid and Nancy will certainly be tough going for viewers unfamiliar with the punk movement and unprepared for the extraordinary amount of cynicism, ignorance, anger, and self-abuse that went hand-in-hand with it, but the film's value lies in its honest, unflinching gaze at a social phenomenon.
    • 56 Metascore
    • 60 Critic Score
    Betty Blue
    An inconsistent and unsatisfying tale of amour fou and literary ambition.
    • 55 Metascore
    • 50 Critic Score
    52 Pick-Up
    One of the most downright sleazy major films in recent memory, 52 PICK-UP works mainly because of its vivid villains, who are more intriguing than the hero. Glover is superb as the totally amoral blackmailer who uses his superior intelligence to keep his dimmer comrades in check.
    • 85 Metascore
    • 100 Critic Score
    The Sacrifice
    THE SACRIFICE is about a number of things, none obvious and none remaining wholly consistent from one viewing to the next; it is a poetic vision, filled with the symbolism peculiar to Tarkovsky's imagination. It is also a visually stunning, hauntingly beautiful, brilliant piece of art.
    • 55 Metascore
    • 60 Critic Score
    The Mission
    While an impressive production, THE MISSION tries to do so much that little is explored fully. Irons's character is really more an icon than a man, as is De Niro's. Perhaps most distressing is the fact that THE MISSION is yet another film made by Europeans or Americans that, while sympathetic to the plight of South American Indians, portrays them as an indistinguishable mass of childlike innocents just waiting to be exploited by outsiders.
    • 33 Metascore
    • 50 Critic Score
    Soul Man
    There are some good moments in SOUL MAN, but Gross steals the picture; he has the best lines and makes the most of them.
    • 57 Metascore
    • 50 Critic Score
    Trick or Treat
    A fairly clever sendup of both heavy-metal music and the paranoid parental-action groups that want it banned.
    • 60 Metascore
    • 75 Critic Score
    From Beyond
    Although perhaps not as mind-blowing in its uniqueness as RE-ANIMATOR, this is definitely one of the best horror films of the 1980s.
    • 77 Metascore
    • 75 Critic Score
    The Color of Money
    One of Scorsese's most commercial undertakings, THE COLOR OF MONEY relinquishes none of his unique style and vision, using a swooping, gliding camera and countless trick shots to maximum impact.
    • 75 Metascore
    • 75 Critic Score
    Peggy Sue Got Married
    The film features good acting from almost everyone, the one notable exception being the annoying Cage who adopts a grating constricted voice for the role.
    • TV Guide Magazine
    • 44 Metascore
    • 40 Critic Score
    Deadly Friend
    The movie turns into a rather-dull mad-scientist romp. Craven's direction is nothing more than workmanlike, and it appears that out of sheer boredom he threw two nightmare sequences into the mix.
    • 80 Metascore
    • 80 Critic Score
    Children of a Lesser God
    Despite this flaw, several dramatic lulls, and an aggressive determination to "sparkle," the film often makes for crackling good drama with plenty of leavening humor and magnificent performances by Hurt and newcomer Matlin.
    • 54 Metascore
    • 40 Critic Score
    Tough Guys
    Sadly, this inane vehicle was not worthy of the talents of the two great vets.
    • 62 Metascore
    • 60 Critic Score
    Crocodile Dundee
    The film's fish-out-of-water story line is a film comedy standard; what makes the picture work so well is Hogan's cheerful, weatherbeaten appeal.
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