San Francisco Chronicle's Scores

  • Movies
  • TV
For 6,499 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 0.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 For Colored Girls
Lowest review score: 0 One Night at McCool's
Score distribution:
6499 movie reviews
  1. The character motivations are weak, and the story is poorly structured. But its camera work, possibly intended to distract audiences from the movie’s flaws, only compounds its problems. It distances the audience and makes Jason Bourne a chore to sit through.
  2. Has more in common with a horror movie than with a genuine political work.
  3. Two hours of senselessness and overkill, decked out in lurid, bad-trip colors.
    • 54 Metascore
    • 25 Critic Score
    For all its hidden-camera footage and teary confessions, the movie rings as true as an episode of MTV’s “Real World.”
  4. It's a tepid, quiet and uneventful film, directed almost in slow motion, with no narrative propulsion and with a succession of very similar scenes. The actors speak softly and pause a lot. And in the background is the steady hum of the soundtrack.
  5. The most humorous actor in the film, Joey Kern as Sweet Lou the cradle-robbing ladies' man, gets laughs only because he's performing a note-for-note rip-off of the Matthew McConaughey character in "Dazed and Confused."
  6. Serious intent may be lurking somewhere in there, but it's buried under layers of stupidity - not just stupid jokes, which is what you want from Sandler, but also stupid, shallow thinking.
  7. One of those comedies in which almost everything good about it is extraneous. There are funny lines and quirky bits, but in terms of story and character, the movie is empty and pointless.
    • 59 Metascore
    • 25 Critic Score
    There’s no one to root for, not even the dead girl. Nothing seems important enough.
  8. In Step Up 3D, what's going on is: nothing.
  9. Builds into a shapeless riff on the existentialist misery of company.
  10. The problem comes down to this: If you take the spirituality out of Ben-Hur, you take the Ben-Hur out of Ben-Hur.
  11. Poor casting is compounded by a ludicrous script.
  12. The strain and desperation are apparent from the first scene.
  13. A pile of junk.
  14. Never comes alive.
  15. Had a lot of promise, but ultimately isn't very funny.
    • 33 Metascore
    • 25 Critic Score
    Fans of previous incarnations are advised to check their nostalgia at the door, while the uninitiated may simply check their brains.
  16. You can't fool me. I know it's actually a parlor game.
  17. It isn't smart or even very scary.
    • 80 Metascore
    • 25 Critic Score
    While The Assassin is a noble misfire, here’s hoping Hou, who is 68, can saddle up for another ride soon. Another decade would be too long to wait for another vision from this most special director.
  18. A wretched comedy about middle-aged romance.
  19. Floats is corny and false, with a script by Steven Rogers that's almost 100 percent artificial sweetener.
  20. A great role becomes an unenviable chore, in which a superb comic actress finds herself trying to sell a series of unfunny comic situations by mugging and pushing with all her might. It's an unflattering spectacle for all concerned.
  21. The Ice Age screenwriters seem to be making up the rules as they go along, distracted by tired side plots to give the other characters a reason to exist in the film.
  22. There are barrages of fast cuts to distract us from the fact that the director is showing us no real action.
  23. An agony of bad plotting and whimsical, lifeless scenes.
  24. These people are so stupid that they make us think, well, wait a second: Maybe those livers and kidneys could be put to better use.
  25. Nobody would claim it adds up to much of a comedy. It's strictly for someone looking for a goof-off.
  26. The film is intended to be light and whimsical, but with a core of sincere emotion. But it's as if the thing were made by Martian anthropologists who assume that human audiences are as twisted as the people onscreen.

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