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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    • 74 Metascore
    • 80 Critic Score
    Lancelot of the Lake
    Not surprisingly, Bresson's stripped-to-the-bone adaptation eschews the traditionally heroic, spectacular, fabulous, and exaltedly romantic aspects of the legendary saga in order to lay bare the confusion and pain within the human soul.
    • 42 Metascore
    • 25 Critic Score
    Bug
    A few scary moments, but that's about it. Technical credits are good, actors are fair, direction is mediocre, but the public squashed Bug.
    • 67 Metascore
    • 75 Critic Score
    The Wind and the Lion
    The Wind And The Lion is certainly jingoistic to a fault, and its portrayal of the various factions is little above the cartoon level, but thanks to marvelous performances by Keith and Connery, the film works as a maker of myths.
    • 44 Metascore
    • 40 Critic Score
    Breakout
    Unmotivated, often plodding, and singularly without humor, this film could have been terrific.
    • 61 Metascore
    • 40 Critic Score
    The Eiger Sanction
    Unlike his brilliant work in directing westerns, Eastwood falls victim to stodgy pacing and ludicrous acting. The Eiger Sanction does, however, contain some brilliant, breathtaking mountaineering sequences in which Eastwood did his own stunt work.
    • 61 Metascore
    • 60 Critic Score
    The Return of the Pink Panther
    The picture comes to life only when Sellers is onscreen, and the rest of the time it's just vamping.
    • 68 Metascore
    • 75 Critic Score
    French Connection II
    Surprisingly good follow-up to the original tough crime drama.
    • 58 Metascore
    • 80 Critic Score
    The Fortune
    A catalogue of slapstick errors, THE FORTUNE works well through the fine performances of the leads and the superb timing of director Nichols.
    • 79 Metascore
    • 80 Critic Score
    Smile
    The original script, written by TV veteran Belson, supplies plenty of laughs, but the picture has so many characters we never get to truly know any of them, and the result, while often hilarious, is ultimately skin-deep, just as the beauty contestants are.
    • 61 Metascore
    • 100 Critic Score
    The Day of the Locust
    Day Of The Locust exudes authenticity, from the costuming to the cars, from the exotic clothes to the marcelled hair styles.
    • 58 Metascore
    • 60 Critic Score
    Death Race 2000
    Superior drive-in exploitation fare.
    • 67 Metascore
    • 25 Critic Score
    Dolemite
    A classic among lovers of truly bad movies.
    • 91 Metascore
    • 80 Critic Score
    Monty Python and the Holy Grail
    A zany, hysterically funny, and sometimes brilliant if sometimes sophomoric send-up of every medieval movie ever made.
    • 47 Metascore
    • 50 Critic Score
    Supervixens
    Supervixens is primarily for Meyer cultists, and even they may be put off by the film's length and excessive violence
    • 52 Metascore
    • 50 Critic Score
    Brannigan
    Basically a formula film with all the usual car chases, knock-downs, booby traps, etc. If you like John Wayne, you'll love Brannigan. If you just think he is...well, only all right, you'll be better off reading a book. This is not one of the Duke's best.
    • 60 Metascore
    • 50 Critic Score
    Escape to Witch Mountain
    Richards and Eisenmann are a pair of orphaned children with psychic powers who suffer from amnesia and cannot remember where they came from.
    • 66 Metascore
    • 25 Critic Score
    Tommy
    Ken Russell applies his rococo outpourings to Pete Townshend's rock opera and botches not only the visuals but the fine score.
    • 82 Metascore
    • 75 Critic Score
    Night Moves
    This excellent contemporary noir features some of the best work of both director Arthur Penn and actor Gene Hackman.
    • 65 Metascore
    • 75 Critic Score
    Shampoo
    Beatty mercilessly lampoons his own offscreen image in a bumptious comedy of manners that turns persuasively sombre at the end.
    • 60 Metascore
    • 60 Critic Score
    The Great Waldo Pepper
    A handsomely mounted aviation adventure from the director, screenwriter and one of the stars of the hugely successful BUTCH CASSIDY AND THE SUNDANCE KID, this film deals with that colorful era of the early 1920s when barnstorming--performing aerial feats before rural crowds--was so popular.
    • 57 Metascore
    • 50 Critic Score
    The Wilby Conspiracy
    The direction is routine action filmmaking with no originality. The film, therefore, is both exciting and flat all at once.
    • 54 Metascore
    • 50 Critic Score
    The Stepford Wives
    Ira Levin is an eclectic writer who has done comedy-drama (Sleuth), adventure (The Boys from Brazil), thrillers (Rosemary's Baby), and science fiction such as The Stepford Wives. But Goldman's screenplay and Forbes's ponderous direction slow his exciting novel to a laborious pace.
    • 63 Metascore
    • 75 Critic Score
    The Strongest Man in the World
    The famed Medfield campus is the site for another romp courtesy of Walt Disney and producer Bill Anderson. The film, which pokes fun at the hype put out by cereal companies, has some of the students discovering a formula to give humans super strength.
    • 43 Metascore
    • 40 Critic Score
    The Man with the Golden Gun
    Screenwriters Maibaum and Mankiewicz attempted to downplay the gadgetry this time around, but their attempts at adding more humor hinder plot development. The film's pace lags until the climactic finale.
    • 65 Metascore
    • 75 Critic Score
    Black Christmas
    Although strictly standard fare, the material is elevated somewhat through Clark's skillful handling of such plot devices as obscene phone calls from the killer to the girls via the upstairs phone and a nicely handled twist ending, which provides a genuine shock.
    • 62 Metascore
    • 50 Critic Score
    The Front Page
    This slick remake of the ebullient original falls short of being the film it could have been, despite the presence of master filmmaker Wilder and his engaging costars.
    • 69 Metascore
    • 75 Critic Score
    The Towering Inferno
    Everything a disaster movie should be, a combination of soap opera and the spectacle of destruction.
    • 83 Metascore
    • 100 Critic Score
    Young Frankenstein
    Brooks's most accomplished work, combining his well-known brand of comedy with stylish direction and a uniformly excellent cast.
    • 90 Metascore
    • 100 Critic Score
    The Godfather: Part II
    Cinematographer Willis superbly captures the turn-of-the-century period, applying a seriographic tint to flashback scenes for a softer, richer look than the sharp image of the ongoing contemporary story.
    • 69 Metascore
    • 30 Critic Score
    Messiah of Evil
    Incoherent horror film about a woman, Hill, searching for her father, a surrealist painter in a small California coastal town that has become overrun with flesh-eating zombies. Katz and Huyck, who enjoyed great success as the writers of George Lucas' AMERICAN GRAFFITI, stooped to ripping off George Romero's low-budget masterpiece NIGHT OF THE LIVING DEAD.
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