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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    • 13 Metascore
    • 10 Critic Score
    Cannonball Run II
    Burt Reynolds and a host of notable performers seem to be having a hell of a good time wandering through this meandering, episodic farce, but rarely is their good mood shared by the viewer.
    • 53 Metascore
    • 60 Critic Score
    Conan the Destroyer
    Under the direction of veteran Fleischer, this superior sequel to the plodding Conan The Barbarian boasts much more speed, skill, and ingenuity than its predecessor.
    • 61 Metascore
    • 75 Critic Score
    The Karate Kid
    Though shamelessly manipulative, it is undeniably effective. It offers some genuine moments of warmth, humor and excitement. Of course it all leads up to a big tournament where Fair Play has a showdown with Dirty Tricks. Guess who wins. This is the kind of movie where you find yourself cheering even though you know you're being hoodwinked.
    • 58 Metascore
    • 50 Critic Score
    The Pope of Greenwich Village
    Little works in this contrived mess, but by far the worst aspect of it is Roberts' over-the-top histrionics. The film tries hard to create a relationship similar to that of Harvey Keitel and Robert DeNiro in Martin Scorsese's Mean Streets, but the actors' performances are so out of sync that the effort quickly becomes hopeless.
    • 36 Metascore
    • 30 Critic Score
    Rhinestone
    Whereas the badly miscast Stallone never gets a handle on the material (albeit there isn't much to get a hold of), Parton manages to rise above the script and is appealing. The multiple costume changes that she and Stallone make, however, are no substitute for laughs.
    • 70 Metascore
    • 75 Critic Score
    Under the Volcano
    The result is very much worth the wait, bringing to life the mysticism of Mexico with a superb script by Guy Gallo, exquisite photography, and the unparalleled performance by Finney.
    • 71 Metascore
    • 75 Critic Score
    Ghostbusters
    With his deadpan delivery and snide quips, Murray more than holds his own amid the myriad state-of-the-art special effects.
    • 70 Metascore
    • 25 Critic Score
    Gremlins
    Dante gleefully trashes cliches and sentimental Capra-esque notions, but one should not forget this movie was given a "PG" rating and cynically aimed to draw an audience of small children who would no doubt be terrorized by this myth-shattering film.
    • 68 Metascore
    • 75 Critic Score
    Top Secret!
    Doesn't always work, nor does it measure up to their hilarious AIRPLANE!. It is, nevertheless, very funny as it lampoons two genres: the spy movie and the teenage musical.
    • 68 Metascore
    • 50 Critic Score
    Beat Street
    This energetic hip-hop musical barely supplements the large-scale musical numbers with its cliched plot, but it does capture a sense of the break-dancing craze and is more entertaining than most of the films made to cash in on that trend.
    • 59 Metascore
    • 50 Critic Score
    Streets of Fire
    Vallone's production design is a knockout--the film is weakly scripted and scored.
    • 58 Metascore
    • 50 Critic Score
    Star Trek III: The Search for Spock
    The third Star Trek film is not as good as the second, but it's reasonably entertaining fare for non-fans.
    • 75 Metascore
    • 80 Critic Score
    Once Upon a Time in America
    This is Leone's gangster film to end all gangster films, a work of tremendous intellectual depth and emotional range.
    • 57 Metascore
    • 60 Critic Score
    Indiana Jones and the Temple of Doom
    The nonstop pace may eventually numb viewers to the thrills, although Spielberg must be congratulated for adding some shades of character to his archetypal action hero this time around.
    • 66 Metascore
    • 40 Critic Score
    The Element of Crime
    Filmed with great visual style, the film looks terrific but makes almost no sense save for its "insider" references to such films noir as Jean Luc Godard's Alphaville and Fritz Lang's M.
    • 61 Metascore
    • 60 Critic Score
    The Natural
    Somewhat overly sentimental, lacking the novel's subtlety, and less interesting when the action leaves the ball park, Barry Levinson's beautifully shot film is nonetheless a charming fairy tale.
    • 61 Metascore
    • 75 Critic Score
    Sixteen Candles
    The premise is ordinary, but the film is distinguished by funny gags and excellent performances by Molly Ringwald and Anthony Michael Hall.
    • 1 Metascore
    • 20 Critic Score
    Hardbodies
    Dumb sex comedy...Not much here except loads of beautiful women in swimsuits.
    • 33 Metascore
    • 30 Critic Score
    Friday the 13th: The Final Chapter
    The studio certainly needn't hire any brilliant writers; they have only to repeat the plot of the first film in every sequel.
    • 73 Metascore
    • 75 Critic Score
    Suburbia
    Although hardly believable, the story is effective, making its rather unwholesome characters sympathetic.
    • 60 Metascore
    • 75 Critic Score
    Swing Shift
    Jonathan Demme's characteristic generosity toward his characters and refusal to make absolute moral judgments are strong points, while the feminist subtext adds freshness to the story.
    • 62 Metascore
    • 50 Critic Score
    Iceman
    The movie is a good idea, but a good idea does not always result in a good movie. The picture was miscast. Hutton is just too young to be believable as a man of science.
    • 67 Metascore
    • 75 Critic Score
    Moscow on the Hudson
    A loving, dramatic comedy that resembles early Frank Capra in its patriotism and sentiment, this movie just misses on several levels but has enough humor to make you smile and enough corn to warm anyone's heart.
    • 10 Metascore
    • 25 Critic Score
    Where the Boys Are
    It would have been better off if the casting were more believable, the acting more honest, the emphasis off the obvious sexuality, and the script destroyed before production began.
    • 63 Metascore
    • 75 Critic Score
    Romancing the Stone
    Although comparisons with Steven Spielberg's Raiders of the Lost Ark are inevitable, it is the interplay between Turner and Douglas that gives the film its real charm. Norman and DeVito score strongly in roles that would have been played by Sydney Greenstreet and Peter Lorre 30 years ago, and the whole film has the feel of an old Warner Bros. thriller with broadly comic overtones.
    • 62 Metascore
    • 75 Critic Score
    Greystoke: The Legend of Tarzan, Lord of the Apes
    The most intelligent and perhaps the best filmic treatment of Edgar Rice Burroughs's classic pulp novels about Tarzan, the white child of noble blood raised by apes in the jungle, since Elmo Lincoln first brought the character to the screen in 1918.
    • 66 Metascore
    • 50 Critic Score
    Racing with the Moon
    In this slight film about two boys about to be drafted into WWII, everyone tries hard, but the movie is essentially superficial and has difficulty sustaining audience interest.
    • 44 Metascore
    • 50 Critic Score
    The Ice Pirates
    Mindless fun, though, if you don't look too hard at the effects and are willing to accept the wooden Urich as Errol Flynn or Louis Hayward.
    • 71 Metascore
    • 75 Critic Score
    Splash
    Director Ron Howard has a good sense of the whimsical, and his film is sweet and unpretentious, though somewhat ribald when one realizes the studio from whence it sprang.
    • 36 Metascore
    • 50 Critic Score
    The Hotel New Hampshire
    This dreary satire of the post-war American family has a small but devoted following. Writer-director Tony Richardson has constructed a complex screenplay based on an even more convoluted novel by John Irving. It's a fairy tale about virtually everything and, as such, will not satisfy everybody. The film is laced with blackly humorous takes on heterosexuality, homosexuality, incest, abandonment, Nazism, masochism--a veritable laundry list of contemporary neuroses.
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