San Francisco Chronicle's Scores

  • Movies
  • TV
For 6,836 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 0.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Indiana Jones and the Last Crusade
Lowest review score: 0 Bio-Dome
Score distribution:
6836 movie reviews
  1. Clocking in at two hours and 20 minutes, it seems intended to have been a crime epic in the vein of Michael Mann’s “Heat,” about two men of talent and spirit who happen to be on opposite sides of the law. And it’s sort of like that, if you can imagine a Michael Mann picture that has been set on fire and dropped from an airplane.
  2. It’s a poorly made film, with rough edits, distracting staging and plot contrivances that can be predicted to the moment.
  3. It is, for what it’s worth, a good documentary, though I imagine its true worth and true nature can only be revealed in time. At the starting gate of 2018, we can have no idea how this film will be perceived in 10 years, and maybe we don’t want to know. Then again, maybe we do.
  4. Buoyed by an appealing lead performance by John Hawkes, Small Town Crime is a smart, sharply written detective story that, though not without humor, plays it straight and tough.
  5. Kalashnikov is also smart enough to keep The Road Movie down to 67 minutes, which is all he needs to create this particular vision of hell. (And, by the way, he does so without showing bloody or mangled bodies.)
  6. It might be enough that 12 Strong makes you feel good that the United States still produces guys like this. Too bad we didn’t get to know about the real guys and their actual story.
  7. Here and there, particularly in flashback, Bening gets a scene or a moment to invest in and shine, but for truly a surprising length of time, Bening plays a woman who is asleep, literally.
  8. Although the director’s multipronged approach may dilute the impact of Intent to Destroy, there’s no denying the film’s value as an introduction to a major piece of history that continues to inspire debate of the most intense kind.
  9. It weds all the winning aspects of the Neeson formula to a ticking-clock plot, full of tense moments and gripping sequences.
  10. The only clear message to emerge here is that Kruger is a world-class talent.
  11. Paul Thomas Anderson is getting there. He is a great director of scenes, not of movies, but in Phantom Thread he has devised a film that hangs in from start to finish, his first since “Boogie Nights.”
  12. Hawkins, Bonneville and voice actor Ben Whishaw — who makes Paddington sound like the Geico gecko minus the attitude — give the film a strong base of kindness.
  13. In the end, it’s left to Shaye to carry the film, and she does so with aplomb. The “Insidious” franchise may be running out of places to go, but Shaye appears to be just getting started.
  14. The Post is on safe ground when it focuses on Streep as Graham — tentative, slightly affected, but growing by the day — and with Graham’s relationship with her gruff, hotshot editor, Ben Bradlee, played by Tom Hanks, against type but winningly. The movie’s challenge is the journalism story, which is not as clear-cut as Watergate and is therefore harder to dramatize.
  15. A moving, quite amazing documentary.
  16. Happy End is the latest from Michael Haneke, an uncompromising filmmaker whose work is sometimes brilliant and sometimes hard to watch, and sometimes both, but not this time. Happy End is just hard to watch.
  17. This makes Hostiles something of a slog, but a movie-literate slog containing some impressive scenes.
  18. At a certain point, everyone watching Molly’s Game will form the question, “Why should I care about any of this?” It’s a question Sorkin should have anticipated. He has no good answer.
  19. It’s as realized a thriller as you are likely to find, not only in the precision of its performances, but in its evocative use of location (Rome, London), its period detail (especially Williams’ clothing) and the tension of the younger Getty’s months-long captivity.
  20. Wilson and Helms favor Bradshaw in likability. But they are not two hours’ worth of likable, in a film this flawed.
  21. By the end, Downsizing is one of those great ideas that should have just stayed an idea.
  22. And then there’s the real problem with Pitch Perfect 3: The best thing about the first movie — the singing — feels like an afterthought.
  23. There’s idiotic, and there’s magnificent, but The Greatest Showman is that special thing that happens sometimes. It’s magnificently idiotic. It’s an awful mess, but it’s flashy. The temptation is to cover your face and watch it through your fingers, because it’s so earnest and embarrassing and misguided — and yet it’s well-made.
  24. It’s buoyant. It’s bright. It has lots of pop music on the sound track, none of it from 1991 or 1994, and almost all of it from the late 1970s, mostly 1977 and 1978. The movie’s mix of music and era doesn’t quite make sense, strictly speaking, but like everything in this loose, inspired and yet tonally precise film, it feels right.
  25. The film’s best moments show the characters bonding as teens, “Breakfast Club”-style, within their new bodies.
  26. There’s real artistry to Ferdinand.
  27. Armie Hammer’s performance is a brilliant exercise in subtlety, suggesting a genial yet inappropriate space-taking, the carelessness of the beautiful.
  28. The director is barely a kid, yet this is such a ferociously accomplished, beautifully nuanced and endlessly surprising film, you'd think the guy had been directing for decades. [13 June 2010, p.Q25]
    • San Francisco Chronicle
  29. You don’t see many sci-fi action extravaganzas that are about late middle-aged disappointment, about wondering what it’s all about and whether any of it was worth it. It’s this element that gives The Last Jedi an extra something, a fascinating melancholy undercurrent.
  30. In almost any other filmmaker’s oeuvre, this film would be considered a highlight. But for the director who made “Hannah and Her Sisters,” “Match Point” and “Blue Jasmine”? It’s right up there with “Melinda and Melinda” and “Scoop.” Good, not great.

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