San Francisco Chronicle's Scores

  • Movies
  • TV
For 9,302 reviews, this publication has graded:
  • 52% higher than the average critic
  • 2% same as the average critic
  • 46% lower than the average critic
On average, this publication grades 2.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Mansfield Park
Lowest review score: 0 Speed 2: Cruise Control
Score distribution:
9302 movie reviews
  1. Bleak.
  2. An extraordinary and heartfelt film.
  3. A wonderfully twisted comedy.
  4. This is a film about small victories, huge defeats and finding the will to keep fighting.
  5. Rotten, pretentious movie full of minimalist dialogue and self-consciously arty cinematography.
  6. Never comes alive.
  7. Could have used more dramatic energy, maybe at the expense of some of that gorgeous scenery.
  8. This warm, celebratory and very public film is punctuated by sudden and luminous private visualizations.
  9. Numbing.
  10. Ugly. ..and unpleasant -- and clueless on a grand scale.
  11. A tense, intelligent and sober film.
  12. Numbskull entertainment.
  13. A film one watches at an emotional remove, but from that distance there are sights and moments to appreciate.
  14. Segues confidently from broad humor to tense drama.
  15. An appealing film with a hideous title.
  16. Seems it's never going to reach liftoff.
    • 47 Metascore
    • 50 Critic Score
    There are just enough revelatory moments to recommend the movie.
  17. Told so simply and powerfully that it seems to carry echoes of earlier, timeless tales.
  18. It comes down to a pair of appealing performers in a series of bad-relationship skits.
  19. Jumbled and stupid plot, bad acting and a few predictable gags that fall flat.
  20. Has unusual visual vitality in a John Cassavetes vein. For the adventurous, it's worth checking out.
    • 72 Metascore
    • 75 Critic Score
    Ends up musing perceptively on the American dream of wanderlust and its unintended consequences.
  21. Consistently absorbing as the amazing Deneuve reveals, scene by scene, new facets of a fascinating character in a mercantile war that involves equal parts greed and vanity.
  22. Any way you slice it, it is still pointless.
  23. A strange mix of the campy, at least in the English dubbing, and the awesome.
  24. Won't work until the film comes out on video.
  25. Can make a person sick in two ways at once -- through its lowdown raunch and through the spasms of laughter that use stomach muscles one might not have known existed.
  26. A brilliant performance (Walken).
  27. A lustrously shot, well-acted and immensely moving romantic drama.
  28. The audience, too, will be sorry to see this fleeting, beautifully made French film end.
  29. Turns into one long wallow.
  30. A schlocky thriller that might appeal to less discriminating members of the mall crowd.
  31. It's an audacious little comedy with bursts of hilarity and a certain giddy energy.
  32. Just like a low-budget football comedy, only with money.
  33. A modest but charming romantic comedy.
  34. If it seems to have the ingredients of an after-school special, the performances take it to another level. Gut level.
  35. It tries to get by on charm. It doesn't.
  36. If it doesn't always come off, enough headlong energy develops to carry it through.
  37. It's amazing how far a movie can go on nothing but speed and directness.
  38. Might be a blast of ridiculous fun -- the way truly bad movies tend to be -- if it weren't so noxious and reprehensible.
  39. Best movie of the summer.
  40. A comedy of interracial wariness and misunderstanding marked by a refreshing lack of sappiness.
  41. Frequently hilarious.
  42. Paradis, an actress and pop singer, is sensational.
  43. Loses steam only when it strays from the sisters and attempts to depict their parents' loveless marriage.
  44. Film is often too subtle and languorous for its own purposes: At times, it's close to soporific.
  45. This land of sweetness and light may appeal to many, but to some it is going to seem like living hell.
  46. Demonstrates, if nothing else, that there's a genuine person -- chastened by mistakes and more compassionate, perhaps, for all she's suffered -- beneath the war paint and the stardust.
  47. Straddles a number of genres -- horror film, lovers on the lam, fairy tale -- and gives them all a cool, knowing spin.
  48. Heartfelt and passionate and brave in what it attempts to explore.
  49. Loser is just as it sounds.
    • 28 Metascore
    • 50 Critic Score
    Feels like an extended TV cartoon segment.
  50. Goes Hitchcock one better by imagining what it would be like if the master had the advantage of digital technology.
  51. A glossy piece of trash.
  52. This nasty, provocative comedy comes from a play by Rainer Werner Fassbinder.
  53. A lot more than the sum of its delicately balanced parts.
  54. It becomes stronger and more honest than most character studies on film.
  55. Cynical to an extreme, it doesn't illustrate its points but blasts them at us -- in italics, boldface and capital letters.
  56. This feast of fantasy is worth it.
  57. A wickedly, punishingly funny movie.
  58. This is one light comedy whose seriousness, hours later, lingers in the mind.
  59. This slight, predictable comedy has appealing moments.
  60. The scary thing about this spoof of '90s teen horror movies is how funny it is.
  61. Sentiment, the kind bordering on schmaltz and easy tears, is found in Shower, a well-meaning generational drama.
  62. So quick that the flat moments are rapidly, inevitably chased by a new gag.
  63. Does about as good a job of simulating that terror as it possibly could, but it's no competition for what we create in our mind's eye while reading.
  64. The whole movie is like that: cute, dead and endless.
  65. The film is long, empty and bogus.
  66. The good ol' Jim Carrey we knew and loved is back, rude, crude and unglued.
  67. Achieves a rare interweaving of the darkly poetical and raspy, cockeyed comedy.
  68. It will be the most talked-about comedy of summer.
  69. Despite its actors, its lush photography and its obvious seriousness of purpose, is as close to a form of torture as any film ever devised. I can't think of any individuals I dislike so much as to force them to see this picture.
  70. It is impossible to take your eyes off the screen.
  71. Shaft has everything --smart writing, shrewd direction and a handful of performances that are first-rate by any standard.
  72. Watching this film is a little like wallowing in warm surf with soft pop music wafting in the breeze.
  73. Has a saccharine quality but also offers a memorable performance by famed Spanish actor Fernando Fernan Gomez.
  74. Humanite isn't like any other film: It's uncompromising, eerily affecting and wildly unresolved.
  75. It's so wonderfully silly, coarse and down-to-Earth that its radiance sneaks up only over time.
  76. A teasy, cogent and funny noir spoof of dime novels and 1960s Hollywood.
  77. A stink bomb of a movie.
  78. The music and wizard DJs in Groove are better than the dopey story.
  79. From the outside, Sunshine sounds like the most boring film on Earth. In fact, it's glorious.
  80. The story is unbelievable and phenomenally silly, not a good combination.
  81. Lushly entertaining, and its subjects are terrific storytellers with style to burn.
  82. When all's said and done, it turns out to be quite sweet-natured. OK. I laughed. So sue me.
  83. It is aimed primarily at children, and its affectionate treatment of animals is certain to please most of them.
  84. Rich with statistics and snazzy visuals, but it ignores those larger questions and, as a result, feels a tad naïve.
  85. A good movie that has been sitting in a film can for two years waiting for a miracle. The miracle came -- Suvari's sudden popularity.
    • 70 Metascore
    • 75 Critic Score
    It's the content that makes this documentary fly. The documentary's only stumbling point is its dearth of historical context.
  86. At its most interesting, and a bit frightening, when Moore starts to get a little loony. Too bad they didn't follow through and make this more of a psychological thriller than a melodrama.
  87. A surreal comedy about sex that comes as close to charming as Greenaway ever gets.
  88. This is almost Mel Brooks territory: The frontiersmen think the Chinese are Jews, while the white settlers think it's the Crow Indians who are. Whoosh!
  89. The comic drama is refreshingly anti- sentimental but will break your heart anyway.
  90. Woo's aggressive, cartoony attack in the film, which makes for its biggest delights, also wipes out whatever chance it might have had of making an emotional impact.
  91. A delicious comedy that starts out promisingly as a pleasant gag comedy but then turns unexpectedly into a bright social satire.
  92. The film's real find is D.J. Qualls, who is very funny as a jug-eared nerd who blossoms into a wild man after three days on the road.
  93. The big screen -- with that 3-D depth charge -- captures the strange magic of the "big top" Cirque in visual gulps.
  94. For all the eyepopping splendor and in-your-face reality, this film leaves the viewer unsatisfied and feeling a little cheated out of compelling drama.
  95. Could use more background and personal detail on Rijker, but Bankowsky's tight, no- frills approach is always compelling.
  96. Slowly unfolding but liberating film, which is also a rare look inside a circumscribed community.

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