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. The strained romantic plot is a slow fizzle.
  2. It commits the only crime that can be committed against Shakespeare: It makes him boring.
  3. Gives stupid, vulgar comedy a bad name.
  4. Is it worth seeing once? Sure.
  5. At 2 1/2 hours, Gladiator is a long ride, but it doesn't drag.
  6. An occasionally charming, sometimes amateurish film .
  7. It's fascinating.
  8. Amiable though slow-going.
  9. Surprisingly dull and predictable in its characterizations.
  10. In the most extreme moments, Thomas hits her career pinnacle.
  11. A goofy genre-buster that takes its amateur criminals as seriously as ``Pulp Fiction'' or ``Run Lola Run'' did theirs.
  12. This British film also mocks the rave culture it celebrates, and it's charming in a way that is hip but surprisingly down to earth.
  13. Monotonous.
  14. Fascinating, obnoxious and poignant.
  15. A fairly wonderful movie about fathers and sons and the mystery of time.
  16. Fast falls from interestingly loopy to tiresome.
  17. Does have a certain classy charm because of its upscale setting. One could wait for the video.
  18. Sloshes between comedy and drama, never quite hitting stride as either.
  19. Story pitches are made. Coke is snorted. There is lesbian sex. Fellatio. An earthquake. A murder. Just another day in Hollywood.
  20. It's a fizzle as as comedy. Still, the film has character.
  21. The dialogue is loaded with depth charges that take a while to explode beneath the surface.
  22. Gratuitous, yes, but Giannaris has the visual finesse to make it work.
  23. The quality of acting in September, coupled with Idziak's images, warrant a visit.
  24. Has a high-gloss, heightened style reminiscent of that of the film's executive producer, Joel Schumacher.
  25. Two hours of nonstop, nail-biting tension and anxiety.
  26. A very smart noir about gambling, smartly directed by Mike Hodges -- until almost the very end. It craps out in the decisive London casino heist scene.
  27. Coppola infuses her movie with a dreamy poetic tone, and deftly translates the essential metaphors of youth, sexuality and death without sacrificing an earthy humor.
  28. Love and basketball -- if you like either one, here is a movie for you.
  29. A forced, implausible flick that loses its energy as it tries to gain momentum.
  30. An intelligent, well-made film about a seemingly well-adjusted, likable and loquacious woman.
  31. The audience is made to wait a long time for an ending that's not worth waiting for.
  32. At its simplest level, East Is East is a broad comedy, but Puri's acting, so honest and heartbreaking, gives the film weight.
  33. Harron validates and largely clarifies the work.
  34. Mostly it seems forced, pat and didactic.
  35. Saved throughout by its inviting atmosphere and richness of characters.
  36. Totally involving.
  37. At heart this is a thoughtful, well-made movie about something serious.
  38. But the single most compelling performance may belong to Australian actor Guy Pearce.
  39. It is well-made in an old-fashioned way, and its straight-arrow lack of cynicism may be old- fashioned as well.
    • 82 Metascore
    • 75 Critic Score
    Above all, it makes one thing clear: This group was wickedly funny.
  40. (Holm) nails one of the best roles of his career.
  41. Numbskull cinema scrapes new depths.
  42. Toback presents specific characters dealing with specific problems and, through their stories, somehow manages to take the temperature of the times.
  43. A boxing movie that exists in that gray area between prototypical and typical, the quintessential and run-of-the-mill.
  44. Glitters, but it's not pure gold.
  45. So inept it's almost entertaining.
  46. Terrific.
  47. Riveting.
  48. X
    Too bad the plotting is jumbled, and the characters too numerous and undifferentiated.
  49. This is a transcendent film, deeply committed and beautifully wrought. It will make anyone who sees it look at the world with new eyes.
  50. Late in the picture, Sobieski has some line-readings that are so emotionally full, strange and truthful that really nothing more need be said.
  51. A deftly layered drama.
  52. One of the most powerful romances of recent years, it is as generous as they come.
  53. A movie by a man who adores film and relishes its potential.
  54. Li is a phenomenon.
  55. The ultimate Julia Roberts movie.
  56. Playful and energized enough to keep an audience guessing.
  57. A skillful exposition of the pain of pro wrestling, and the high price participants pay in terms of physical and ego injuries.
  58. One of the pleasures of Deterrence is that it does not tell the audience what to think.
  59. Something so sappy, no one would believe me if I told them. It has to be seen to be disbelieved.
  60. Summoning silliness Roman Polanski salutes and spoofs satanic thrillers .
  61. That's a few too many agendas for one film.
  62. Jim Jarmusch has come up with something strange and amazing.
  63. A funny comedy for about 90 seconds. Then Bette Midler goes off a cliff.
  64. It's good for a few guffaws and chuckles, but in between the screen has a tendency to stretch at the corners and go flat.
  65. This is a sloppy hash of a movie, poorly directed and plotted in a way that looks as if it were improvised on the spot.
  66. With skill and also with love, writer-director Eric Mendelsohn creates a delicate and airy mood, a kind of cinematic haiku.
  67. A vital, sexy and touching movie that goes to the heart of what human caring is all about.
  68. It's hard not to come away in awe of a director in complete control of every frame.
  69. One of the smartest action thrillers to come along in the past few years. It's also one of the freshest.
  70. Gentle, wacky, down-to-earth and romantic.
  71. The sentimentality overtakes Wonder Boys when, in the last half hour, it tries to make nice with its characters and fashion a deep message from a trivial story.
  72. For a bighearted effort like this one, some patience on the audience's part is not too much to ask. Go ahead. Take a chance.
  73. Fascinating -- up to a point.
  74. Father-daughter relationship lacks impact.
  75. For quite of few of The Whole Nine Yards, it appears that the most clever thing in the movie is going to be the opening credits, monstrous close-ups of the morning toothbrushing routine.
  76. It's an excellent movie for kids, because it is about how amazing children can be.
  77. This half-baked sci-fi horror film, filled with jerky, washed-out, highlighted, blurred and toned imagery, is a tiresome experience.
  78. Acted with almost maniacal force by Jaffrey, Mary is at once fascinating and despicable.
  79. Has many grotesque sex scenes, interspersed with sights of Chong rambling in a dissociated way as she sits in her squalid apartment.
  80. Chase is so dull in this film, he looks as if he's sleepwalking.
  81. Fans have cause to cheer.
  82. It's a movie to feel. Even when the thinking isn't all there, the emotions are, all the way to the film's poignant last seconds.
  83. It's implausible, cartoonishly overdrawn.
  84. Campy, overwrought and gleefully cannibalistic in the way it references and regurgitates horror flicks of yore, Scream 3 fulfills its modest ambitions by delivering a glib slasher spoof for the mall crowd.
  85. The glimpses of religious life bumping into secular passion are touching and warmly comic.
  86. Attempts to convey emotional dislocation and passion at the same time. All we get is distance.
  87. Leaves an unintentional unpleasant aftertaste.
  88. Aims to do nothing but please, and it accomplishes its modest aim with charm and intelligence.
  89. Things isn't linear, and it isn't all that lively. But it captures the experience of some modern women, and it feels from the heart.
  90. A pleasant addition to the time-honored genre of terminally cute youth romance movies, roughly equivalent to staring at a saccharine greeting card for a while.
  91. Though predictable, isn't half bad.
  92. Though its sentiment may be lost on the very young, the movie is strictly two-hanky fare.
  93. An extremely funny movie, and this is coming from someone who barely cracked a smile during ``Friday,'' the first installment of this franchise.
  94. A millennial medley to the max.
  95. (Washington) raises it to the level of importance with an acting job that's one unbroken chain of intense emotion.
  96. (Morris's) strangest and most disturbing portrait yet.
  97. An earthy, sexy mystery.
  98. Either Shelton knows this world well, or he's such a great bluffer it doesn't matter.
  99. A film of audacity and total gut-level appeal.

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