San Francisco Chronicle's Scores

  • Movies
  • TV
For 9,316 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 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:
9316 movie reviews
  1. A little picture -- the names of the entire cast would fit on half a sheet of paper -- but it’s more heartfelt than movies with 50 times the budget.
  2. A new restoration takes a flawed bit of monster camp and turns it back into a strong, serious-minded and occasionally moving science-fiction film.
  3. Can be enjoyed if you don't mind a little manipulation.
  4. In the 2002 South Korean film Oasis, one can appreciate one of Asia's best directors (Lee Chang-dong) and one of the region's best actresses (Moon So-ri).
  5. A cautionary tale as well as an expose on the power of the American fast-food industry. That the documentary comes across as more than a sermon has a lot to do with Spurlock's personality, which is outgoing and instantly engaging.
  6. Sommers film just lies there, weighted down by a complete lack of wit, artfulness and internal logic. So it's a disaster -- a big, loud, boring wreck.
  7. It lives up to its title, flying by in fast motion. Even the first-wave MTV generation may find the pace exhausting, but this piece of fluff wasn't made for them.
  8. Funny, affectionate documentary.
  9. A small gem.
    • 55 Metascore
    • 50 Critic Score
    Sly, stylishly cynical dark farce.
  10. Brosnan and Moore display a knack for fast delivery of smart dialogue both in court and in bed. Their verbal sparring is the main attraction of Laws of Attraction and helped me overlook plot holes of massive proportions.
  11. Moving.
  12. In Godsend, we have the spectacle of three good actors tied to the mast of a sinking premise.
  13. The film is neither fish nor fowl nor some arresting new entity, but a lumpish coagulation of conflicting impulses and unrealized gestures.
  14. It's too much feel-good movie to take in one sitting, but Stroke of Genius captures just enough detail from the greatest sportsman you've never heard of to keep the historical drama interesting.
  15. The concept is high, the humor lowbrow and the joy of experimentation evident in every frame of this wonderful picture.
  16. As in "The House of Yes'' and "Freaky Friday,'' Waters keeps it wild but real, and the result is not only a series of lively scenes but lively close-ups: The big-eyed, expressive performances are just fun to watch.
  17. The story of an amazing life.
  18. The film is a touching, detailed portrait of an important and often overlooked band. Filmmaker David C. Thomas has done a wonderful job of stitching his filmed interviews together with the extensive vintage footage he scrounged.
  19. Whenever the movie's point of view turns omniscient, and we're seeing events from the director's vantage point, Man on Fire becomes a blurry, shaky mess.
  20. Timeless.
  21. The possibilities of Jenna's confusion are exploited for full comic effect. Garner, who turns out to be a charming, abandoned comedian, makes Jenna's incredulousness and innocence very funny and occasionally even touching.
  22. Its gently delivered theme and friendly images of nature (no lions eating antelopes here), this is a fine thing for families and school groups.
  23. Insightful but unfocused.
  24. All [Tarantino] has to do is trim a full hour out of "Vol. 1" and a half hour out of Vol. 2, combine what's left and he'll have something not just amusing and idiosyncratic, but outstanding.
  25. It's a prevailing sense of humor that makes this an entertaining, if silly, film adaptation of the Marvel comic.
  26. This offering is a mostly undistinguished addition to the long list of films about alienated and self-pitying young people.
  27. A clever idea, but it's not quite pulled off.
  28. Tilda Swinton's rich, compelling performance is reason enough to see this uneven picture, which devolves from a riveting romantic triangle to a morality tale without a moral center.
  29. Hernandez's debut feature is a thuddingly slow, often wordless portrait of emotional pain.

Top Trailers