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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    • 67 Metascore
    • 80 Critic Score
    Super Fly
    This interesting feature is one of the few Hollywood films that takes an honest look at the lives of African-Americans in the ghetto.
    • 89 Metascore
    • 100 Critic Score
    Fat City
    Fat City is both an extraordinarily realistic look at the bottom rungs of the fight game and a moving exploration of the human condition.
    • 80 Metascore
    • 80 Critic Score
    Deliverance
    Morose, shockingly violent yet strangely beautiful, Deliverance is a tale of what happens to civilized values when put to the test in a hostile wilderness environment.
    • 93 Metascore
    • 100 Critic Score
    Late Spring (1949)
    One is left with an overwhelming sense of knowledge about these characters and of human nature, and finally, a recognition of the profound sadness of everyday life. LATE SPRING is truly transcendent.
    • 52 Metascore
    • 40 Critic Score
    Joe Kidd
    Bad editing, uninspired direction, and a script that teetered precariously on the verge of parodying a John Wayne movie combined to make Joe Kidd nothing more than a plodding shoot-em-up.
    • 87 Metascore
    • 80 Critic Score
    Tokyo Twilight
    This film ventures into slightly darker psychodramatic territory than much of Ozu's work, by courageously dramatizing and exploring issues such as maternal abandonment, broken families and substance abuse.
    • 90 Metascore
    • 90 Critic Score
    Le Samouraï
    Melville coolly mixes the conventions of American crime films from the '40s and '50s ( THIS GUN FOR HIRE is one key reference point) with a distinctly European austerity, yet the film still manages to pack quite an emotional punch.
    • 48 Metascore
    • 40 Critic Score
    Hannie Caulder
    Predictable and dull, though sleazy brothers Borgnine, Martin, and Elam are terrific.
    • 49 Metascore
    • 60 Critic Score
    Conquest of the Planet of the Apes
    An allegorical fable of fascism and slavery, CONQUEST OF THE PLANET OF THE APES is the best of the four sequels in the hugely successful APES series, as well as being the darkest and most violent.
    • 66 Metascore
    • 75 Critic Score
    The Candidate
    Handlers, spin-doctors, and the good man they lead astray. Jeremy Larner's Academy Award-winning screenplay provides a voyage into the sea of politics; the result is a fascinating film that sometimes feels like a documentary. Despite minor glitches, this is a prophetic glimpse of politics in the age of TV.
    • 92 Metascore
    • 100 Critic Score
    Frenzy
    Hitchcock's first British film in almost two decades marked a smashing return to his earlier form .
    • 61 Metascore
    • 63 Critic Score
    Boxcar Bertha
    Lots of violence, typical of the Corman exploitation mill, but the film still shows the budding talent of Scorsese in his use of moving-camera and period detail.
    • 47 Metascore
    • 50 Critic Score
    Children Shouldn't Play with Dead Things
    Highly derivative of Night Of The Living Dead and filled with amateurish performances, strained comedy, and zero production values, Children Shouldn't Play With Dead Things does convey, nonetheless, an undeniable power in the rising-dead scenes and a genuine mood of unease throughout that most big-budget horror outings fail to capture.
    • 77 Metascore
    • 60 Critic Score
    Duck, You Sucker
    Well-plotted action, but as in most of Leone's films scenes seem to have been deleted from the American prints.
    • 62 Metascore
    • 50 Critic Score
    Twins of Evil
    Director John Hough, who made his mark in several episodes of the popular television series The Avengers, keeps things moving at a brisk pace and stages the scenes of horror with considerable panache.
    • 65 Metascore
    • 75 Critic Score
    The Other
    Director Robert Mulligan does an excellent job of evoking both the historical period and the terror, aided greatly by Robert Surtees' fine photography. The performances from the Udvarnoky twins are nuanced and memorable. Well worth seeing.
    • 75 Metascore
    • 75 Critic Score
    Jeremiah Johnson
    Beautifully photographed in the wilds of Utah, this film unfortunately doesn't know when to stop; it feels consumed by a self-concious desire to be arty, and offers a treatment too cool for its subject matter. The dialogue, by John Milius and Edward Anhalt, is full of homespun homilies that undercut the attempted seriousness.
    • 77 Metascore
    • 75 Critic Score
    Play It Again, Sam
    A true film buff's film about a film buff.
    • 65 Metascore
    • 25 Critic Score
    Buck and the Preacher
    Stereotypes abound in this foolish, witless western--a production misusing the fine talent in its cast.
    • 54 Metascore
    • 50 Critic Score
    Fritz the Cat
    All in all, Fritz is best observed as a cultural artifact, with its success allowing Bakshi to follow it up with more heartfelt projects such as Heavy Traffic (1973) and Coonskin (1975).
    • 100 Metascore
    • 100 Critic Score
    The Godfather
    The Godfather is a generational saga; it's also an action film; but above all, it catches the imagination of audiences because it suggests that the career of a gangster is not so very different from the career of a businessman or a politician.
    • 47 Metascore
    • 75 Critic Score
    Pink Flamingos
    The improbable star of this ultra-low budget cinematic gross-out is 300-pound transvestite Divine, whose willingness to do virtually anything in front of the camera, along with an undeniable screen presence, made Pink Flamingos a favorite on the campus and midnight-movie circuits.
    • 100 Metascore
    • 100 Critic Score
    Tokyo Story
    Delicately constructed and deliberately leisurely, TOKYO STORY allows its dramatic content and thematic concerns to envelop an audience the way social mores envelop the films' characters.
    • 51 Metascore
    • 50 Critic Score
    Frogs
    An attempt to capitalize on the success of WILLARD (1971), this silly-sounding revenge-of-nature film is surprisingly effective.
    • 67 Metascore
    • 75 Critic Score
    Silent Running
    Silent Running concentrates heavily on special effects, resulting in some stunning imagery. Dern gives an engaging, against-type performance, though the script is stretched out very thin to support a feature-length film.
    • 73 Metascore
    • 75 Critic Score
    What's Up, Doc?
    While WHAT'S UP, DOC? may not be as great as the classic screwball comedies of the 1930s and 40s, director Bogdanovich has delivered a film with energy, wit, and a madcap pace that is well worth watching.
    • 80 Metascore
    • 100 Critic Score
    Cabaret
    Chilling Fosse vision of Weimar Berlin, stylishly directed and choreographed, featuring a show-stopping musical performance by Minnelli, Grey's unforgettable emcee and thoughtful acting from Michael York.
    • 48 Metascore
    • 25 Critic Score
    There's Always Vanilla
    By Romero's own admission the film was a disaster and shouldn't have been made at all. It is quite obvious the director's heart just wasn't in it.
    • 55 Metascore
    • 40 Critic Score
    Pocket Money
    A couple of good jokes and a superior performance by Martin are all that distinguish this feeble attempt at capturing the same audience who loved Newman in BUTCH CASSIDY AND THE SUNDANCE KID. Rosenberg's direction is pedestrian.
    • 65 Metascore
    • 60 Critic Score
    The Hot Rock
    Director Yates, critically hailed for BULLITT (1968), seems to have little idea what to do with Redford, and the slowest parts of the film are the scenes developing his character into someone the audience still doesn't especially care about. The rest of the film, though, is quite enjoyable as the gang commits elaborate caper after elaborate caper, always finding their objective has just eluded them.
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