San Francisco Chronicle's Scores

  • Movies
  • TV
For 6,492 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 Happy, Texas
Lowest review score: 0 One Night at McCool's
Score distribution:
6492 movie reviews
  1. Typically, films about '60s subculture recycle the same set of media cliches and teach us nothing. Harron approaches the milieu with curiosity, compassion and an anthropologist's eye.
  2. Glatzer and Westmoreland live in Echo Park, and they have given their film a remarkable sense of place.
  3. A first-rate thriller about arrogance at the top.
  4. A terrific documentary.
  5. A film of wisdom, emotional subtlety and power.
  6. The director has said that, though the story was inspired by the deaths of his parents, he hoped to make a film "brimming with life." He's succeeded.
  7. Comedy is getting more and more nasty and more and more funny. But it’s hard to imagine any movie more nasty-funny than Mike and Dave Need Wedding Dates.
  8. Allen's most satisfying film since "Bullets Over Broadway" (1994) and his most compelling since "Crimes and Misdemeanors" (1989).
  9. To say it is about a debilitating disease is as reductive as saying "Little Miss Sunshine" is about a beauty pageant. Both are intimate stories of family ties that bind but sometimes also choke.
    • 79 Metascore
    • 100 Critic Score
    The most important mainland Chinese film this decade.
  10. The resulting film is neither better nor worse than the Swedish film, but it's more cinematic.
  11. An ungainly masterpiece, but Chaplin's ungainliness is something one can grow fond of.
  12. Funny People is a true brass ring effort, a reach for excellence that takes big risks. It's 146 minutes, with a story that's more European in feeling than American.
    • 73 Metascore
    • 100 Critic Score
    A hell of a movie.
    • 84 Metascore
    • 100 Critic Score
    Bujalski's writing is so good, and every shot and edit seems exactly right. Hopefully, there will always be a place for a film like this on a theater screen, no matter the whims of the marketplace.
  13. A great achievement: tense and passionate, a film that one feels not just emotionally but also physically.
    • 69 Metascore
    • 100 Critic Score
    Filmmaker Michael Almereyda gives the most persuasive possible account of the upswing in Eggleston's critical standing.
    • 81 Metascore
    • 100 Critic Score
    All the requisite talking heads pop up - Dylan, Springsteen, Baez - but it is Seeger himself who towers over the landscape. The filmmakers treat this aged curmudgeon almost too reverently, but it is hard not to be awed by this gentle, resolute soul because of the ideas he steadfastly and faithfully represented.
  14. A great movie.
  15. A masterpiece.
  16. Using documentary-style Super 16 film and staged cutaway interviews with friends and family, James and his photographer and co-producer, Peter Gilbert, fashioned a movie with an affecting, candid look.
  17. It's a beautiful machine, thought out and revved up to the last detail, with no other purpose but to delight - and it delights. [24 May 1989, Daily Notebook, p.E1]
    • San Francisco Chronicle
  18. This is one helluva drama, with one helluva star turn by Jennifer Lawrence as Ree.
  19. The first great Hitler movie.
  20. A mesmerizing documentary.
  21. The movie is funny, definitely funny. But underlying the humor is a vision so bleak, so despairing and so utterly hopeless as to make "No Country for Old Men" almost look cheerful.
  22. The picture, written and directed by Francis Veber, the screenwriter of "La Cage Aux Folles,'' is a complete success.
  23. It's screamingly, hysterically, laugh-through-the-next-joke, laugh-for-the-next-week funny. It's so inventive…This is a film by an original and significant comic intelligence.
  24. The beauty of Morris' achievement is the way he fuses Hawking's work in theoretical physics with his subject's life history -- finding subtle connections between the two, and avoiding the pat, predictable structure of biographical film. [28 Aug 1992, p.C3]
    • San Francisco Chronicle
  25. One of Miyazaki's most kid-accessible movies, but still an unnerving film.

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