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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    • 52 Metascore
    • 25 Critic Score
    Dirty Mary Crazy Larry
    There is practically no plot, and even less character development, but the script is based on a novel, most likely a thin one.
    • 50 Metascore
    • 50 Critic Score
    The Black Windmill
    Disappointing effort from Siegel, although not without some interesting philosophical "hero-antihero" questions.
    • 37 Metascore
    • 25 Critic Score
    Frankenstein and the Monster from Hell
    Really lame.
    • 53 Metascore
    • 75 Critic Score
    The Lords of Flatbush
    Anyone who grew up in the Brooklyn of the 1950s will recognize the essential honesty of this picture.
    • 67 Metascore
    • 75 Critic Score
    Caged Heat
    An exciting film, and one that proves that even the most exploitative of films can make a relevant statement.
    • 88 Metascore
    • 100 Critic Score
    The Conversation
    One of Coppola's very best.
    • 65 Metascore
    • 80 Critic Score
    The Sugarland Express
    The film moves well and never loses its gripping tension, but the lighthearted tone of the beginning takes a dive into an abyss that shocks many viewers.
    • 46 Metascore
    • 50 Critic Score
    Foxy Brown
    Where Coffy had an exhilarating sense of fun underlying the mayhem, Foxy Brown is a darker, more mean-spirited picture. Rather than treating Foxy's travails as a setup for the inevitable vengeance, it seems to revel in her degradation.
    • 69 Metascore
    • 75 Critic Score
    The Golden Voyage of Sinbad
    This sequel to the terrific The Seventh Voyage of Sinbad, is great fun--with a minimum of plot and a maximum of wonderful Ray Harryhausen special effects.
    • 66 Metascore
    • 50 Critic Score
    Dark Star
    Carpenter's first directorial effort, an intermittently hilarious satire on 2001--A SPACE ODYSSEY. Carpenter's spaceship is piloted by four goofy astronauts who live like slobs and are bored out of their skulls by their long, uneventful mission.
    • 60 Metascore
    • 20 Critic Score
    The Beast Must Die
    A rather sorry excuse for a horror film--even Peter Cushing's distinguished presence doesn't help.
    • 77 Metascore
    • 80 Critic Score
    The Three Musketeers
    Here, writer Fraser and director Lester went back to the original and hewed closely to the source material, but adding a lot of fun. Some good slapstick combines with moments of real drama and menace to make this movie a winner.
    • 80 Metascore
    • 75 Critic Score
    Lady Snowblood
    Blood sprays, limbs fall, bodies are chopped in half--business as usual in this moderately diverting feudal Japanese revenge story, enlivened by peculiar plot twists and offbeat cinematic flourishes that greatly influenced Quentin Tarantino's Kill Bill Vol. 1 and Vol. 2.
    • 82 Metascore
    • 75 Critic Score
    Thieves Like Us
    A well-done remake of They Live By Night that's slightly long but unusually free of Altman's customary indulgences.
    • 73 Metascore
    • 50 Critic Score
    Blazing Saddles
    What really lessens SADDLES is that its intentions aren't clear. Its humor provoked no thinking; insensitive moviegoers assumed the racial put-downs and cowboy crudeness were deliberate. The public loved the film--it stands as the highest grossing western in history--$45 million plus! But they loved it for all the wrong reasons.
    • 46 Metascore
    • 25 Critic Score
    Zardoz
    Frequently brilliant director Boorman--always an interesting visual stylist--falls flat on his face with this pretentious piece of science-fiction claptrap that presents its dull ideas in such a confused and annoying fashion as to anger even the most devoted fan of the genre.
    • 77 Metascore
    • 100 Critic Score
    The Autobiography of Miss Jane Pittman
    This landmark TV-movie brings history to vivid life, never sacrificing moving personal drama to score sociological or political points.
  18. The Exorcist
    This truly terrifying film version of the best-selling Blatty novel is far superior to the book.
    • 58 Metascore
    • 75 Critic Score
    Magnum Force
    One of the more graphically violent movies ever made, Magnum Force is shatteringly effective.
    • 83 Metascore
    • 50 Critic Score
    The Sting
    Vastly overrated Crooks-R-Us--this time you wear the moustache, enhanced by fine period trappings and flavor. Ultimately empty stuff, but preferable to "Butch Cassidy."
    • 57 Metascore
    • 50 Critic Score
    The Laughing Policeman
    Although an extremely violent movie, THE LAUGHING POLICEMAN benefits from skillful pacing, a literate script, and fine performances by Walter Matthau and Bruce Dern.
    • 40 Metascore
    • 25 Critic Score
    The Day of the Dolphin
    The plot soon disintegrates into dumbness, despite Scott's believable portrayal of an aquatic Dr. Dolittle. The screenplay chooses some poor times to relieve tension, and the jokes fall flat.
    • 77 Metascore
    • 75 Critic Score
    Sleeper
    Sleeper is a highly inventive science fiction parody that is typical of Allen's tight, well-edited movies. Costumes by Joel Schumacher are excellent.
    • 58 Metascore
    • 80 Critic Score
    Papillon
    Papillon was produced with consummate technical skill and offers brilliant acting by McQueen and Hoffman.
    • 86 Metascore
    • 80 Critic Score
    The Last Detail
    The Last Detail is a gritty look at the military life and the people who are attracted to it. It is dark in its message and gray to the eye. Locations are all washed out as though there were a thin membrane of filth spread across everything except the leads, who pop out colorfully like three strawberries in a bowl of Cream of Wheat.
    • 95 Metascore
    • 100 Critic Score
    Don't Look Now
    A film which more than gets by on its directorial style, unforgettable imagery, and striking music alone, DON'T LOOK NOW also manages to be a haunting meditation on fear, death and the beyond.
    • 83 Metascore
    • 80 Critic Score
    Serpico
    When all is said and done, Pacino is the riveting presence that makes the movie work and it is difficult to imagine any other actor in the part. (Review of Original Release)
    • 68 Metascore
    • 75 Critic Score
    Horror Express
    At least as much science fiction as horror, Horror Express has become a favorite in both genres and deservedly so. It's fast-paced, inventive, and wholly entertaining.
  29. Fantastic Planet
    Eerie, surreal and a welcome respite from Disney-style animation, this French sci-fi allegory may not offer any mind-blowing insights (genocide is bad isn't exactly a new thought), but it's a trip.
    • 42 Metascore
    • 60 Critic Score
    Stereo (Tile 3B of a CAEE Educational Mosaic)
    The first film by director David Cronenberg, the black and white, hour-long feature Stereo is more self-consciously avant-garde, and less visceral, than his later work. Nevertheless, many of the usual Cronenberg concerns are present: a futuristic setting, bizarre scientific experimentation, and an obsessive exploration of perverse forms of sexuality.
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