San Francisco Chronicle's Scores

  • Movies
  • TV
For 6,722 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 0.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Harry Is Here to Help
Lowest review score: 0 Are We There Yet?
Score distribution:
6722 movie reviews
  1. A fascinating look at a bizarre man and a brilliant talent. But a good deal of the movie is described by its subtitle -- "A Son's Journey'' -- and to the extent it is, the movie sags.
  2. The film is always a little bit at a distance, almost involving, always good enough to make us root for it, but rarely better than average.
  3. Intermittently funny.
  4. This land of sweetness and light may appeal to many, but to some it is going to seem like living hell.
  5. The less-good stuff: the pirates, who are so blandly and predictably drawn that they sap all the personality out of Peter Dinklage (as an ugly ape skipper), which isn't easy. And the plot, which just barrels forward with very few surprises.
  6. The results are predictable and only mildly entertaining.
  7. Let It Ride has atmosphere, plus a good setting, appealing actors - and a bad script. [19 Aug 1989]
    • San Francisco Chronicle
  8. When you've got three of the nation's best actresses in leading roles, it doesn't matter if your script is only adequate and the audience really has to squint here and there to believe what's happening on the screen.
  9. In its own ridiculous way, The Butterfly Effect is an entertaining movie, despite mediocre acting, lackluster direction and a story that's sometimes frustrating. It has the integrity of camp, maintaining an odd earnestness in the face of its own absurdity.
  10. Curiously mellow for a John Carpenter thriller, Village of the Damned, a full-color, cornball special-effects remake of the 1960 sci-fi favorite, is a trip to a village of the darned tedious.
  11. Mainly for those who already know and like Jodorowsky’s work.
  12. The three films are watchable but resolutely minor works, though each has something to recommend it.
  13. A goopy Gwyneth Paltrow movie.
  14. Mocks without achieving the level of good satire.
  15. Some clunky writing and a distracting subplot limit the effectiveness of this ambitious low-budget indie. Great idea for a movie, though.
  16. One of these days, Angelina Jolie might very well direct a great movie. She has a rare talent and intense concerns and interests. But first she is going to have to suppress some self-defeating impulses that have now twice taken potentially effective films and rendered them ridiculous.
    • 60 Metascore
    • 50 Critic Score
    A fawning bio-pic.
  17. As a screenwriter, Lemmons is able to keep all the plot elements in place. But as a director, she is unable to keep things moving.
  18. More of a tribute than a hard-hitting piece of American filmmaking, which is too bad, because the subject - the imprisonment of ex-Black Panther figure Mumia Abu-Jamal - deserves a thorough, serious examination.
  19. An ambitious political thriller, a multilingual film of mood and texture and the occasional haunting image.
  20. It’s always fun to watch the charismatic Bernal.
  21. As the record of a cultural event, Soul Power is a hit-and-miss affair.
  22. You promised only a slim plot, tidy morals and lovers with quaking loins. It was fun while it lasted.
    • 34 Metascore
    • 50 Critic Score
    Heavy on the eye candy, light on plot and logic.
  23. It's a fizzle as as comedy. Still, the film has character.
  24. Gets most of the big things wrong and almost all the little things right. For two-thirds of its running time, it's a nasty little delight with an amusing and curmudgeonly central character.
  25. The chief asset of Ain't Them Bodies Saints is Rooney Mara, who gets more interesting with every movie.
  26. Fascinating -- up to a point.
  27. Still, it's almost impossible to entirely wreck this great chestnut of Broadway and film. Thanks mostly to the terrific songs, the new version has transporting moments. [20 March 1999, Daily Notebook, p.B1]
    • San Francisco Chronicle
  28. So the bottom line: This is an undeniably effective movie that I mostly enjoyed, even though I’m not altogether sure it should ever have been made.

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