San Francisco Chronicle's Scores

  • Movies
  • TV
For 5,944 reviews, this publication has graded:
  • 53% higher than the average critic
  • 2% same as the average critic
  • 45% lower than the average critic
On average, this publication grades 0 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Spring, Summer, Fall, Winter... and Spring
Lowest review score: 0 Spy Hard
Score distribution:
5,944 movie reviews
  1. A white-trash burlesque that springs from the notion that people chasing each other in cars and doing stupid things in motels are inherently funny.
  2. It's as close to nothing as anything could be while still being something.
  3. A romantic comedy and an adventure story, but in this case that just means it bombs in two distinct ways.
  4. If you're no longer old enough to carry a Hannah Montana lunch box, this movie will feel like punishment.
  5. There's just the matter of facing it: that The Perfect Man is just something slapped together -- by people who don't care, for an audience they figure will care even less.
  6. A few amusing moments mixed in with the painful ones.
    • 27 Metascore
    • 25 Critic Score
    Unwatchable.
    • 65 Metascore
    • 25 Critic Score
    Unfortunately, A Letter to Mona, directed by Hiroyuki Okiura, embodies this sense of frozen time with a tedious narrative punctuated by occasional bursts of sentimentality and hard-to-penetrate humor.
  7. The result is a diligent brand of gloom. When it isn't being diligently gloomy, it's being obvious. When it isn't being obvious, it's being sneaky, and when it isn't being sneaky, it's marching toward a climax of B-movie violence, stupidity and nuttiness that summarily bumps off the movie's least annoying character.
  8. Dragons may have seemed less out of place three decades ago, but it would have been a bad movie then as well. It's filled with clumsy transitions and erratic performances, and tied together by an awkward framing device.
  9. This is not one of the good Altmans. This isn't even one of the mediocre Altmans.
  10. Dumb.
  11. Nowhere near the worst film of 2013, but it is definitely the most exhausting.
  12. Earnest and well-intentioned, The Identical is based on a "what if" that straddles the line between ingenious and loopy.
  13. Most of the cast doesn't know what to do with their shallow characterizations and lackluster dialogue. The best lines were harvested for the trailer - so if you've seen that, you've seen it all.
    • 75 Metascore
    • 25 Critic Score
    Goodbye to Language seems like an appropriate title if it’s meant to suggest that logic and sanity have completely disappeared from this world.
  14. A film with its heart in the right place. Unfortunately, its head is stuck so far in the clouds that it dissolves into preachy do- gooder mush.
  15. The overall premise, involving mental illness and suicide, isn't all that funny, at least not in practice, and the picture begins to seem labored and long.
  16. It's a perfect fit for Williams -- a hunk of slapstick, a dose of schmaltz -- and yet he can't save the film, which is overproduced, mechanical and resoundingly unfunny.
  17. The movie plays more like a WB network teen drama than something audiences should be expected to pay to see.
  18. The Bourne series ended with the last installment, and now comes a 135-minute death rattle called The Bourne Legacy. It's a peculiar movie, both over-plotted and under-plotted, encumbered by layers of detail and yet with no details invested in or developed.
  19. May not be a very enjoyable movie, but at least the badness is in good taste.
    • 28 Metascore
    • 25 Critic Score
    It's all rather haphazard, and fans will wait in vain for Sheriff Harry S Truman, rich girl sexbomb Audrey Horne and the rest, or for more Cooper. Brief bits that avid viewers can understand will render the film incomprehensible to the new viewer. [29 Aug 1992]
    • San Francisco Chronicle
  20. Drama is as much about perspective as it is about events, and the angle provided by How I Live Now turns out to be self-defeating.
  21. Has a vacant, inept, why-oh-why feeling from its opening minutes and only gets worse.
  22. A half-baked script by Jacob Meszaros and Mya Stark admittedly gives Feig little to work with. But his young cast is capable of a lot more than is required of them in this so-called comedy.
  23. Sporadic on-field violence is only a tiny reason that Gracie disappoints, but it's indicative of the film's greater problem. Producers Elisabeth and Andrew Shue seem so intent on creating a hero out of the main character and villains out of almost everyone else, that they've completely distorted reality.
  24. A horror movie that has the distinction of not even being scary... Although Koontz wrote the screenplay, the suspense for which he is supposed to be famous doesn't translate to the screen.
  25. Works better as unintentional comedy than horror.
  26. Although well intentioned, has the superficial gloss of a TV movie of the week.

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