San Francisco Chronicle's Scores

  • Movies
  • TV
For 5,947 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 Quinceañera
Lowest review score: 0 20 Dates
Score distribution:
5,947 movie reviews
  1. 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.
  2. This is not one of the good Altmans. This isn't even one of the mediocre Altmans.
  3. Dumb.
  4. Nowhere near the worst film of 2013, but it is definitely the most exhausting.
  5. Earnest and well-intentioned, The Identical is based on a "what if" that straddles the line between ingenious and loopy.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. The movie plays more like a WB network teen drama than something audiences should be expected to pay to see.
  11. 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.
  12. 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
  13. 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.
  14. Has a vacant, inept, why-oh-why feeling from its opening minutes and only gets worse.
  15. 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.
  16. 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.
  17. 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.
  18. Works better as unintentional comedy than horror.
  19. Although well intentioned, has the superficial gloss of a TV movie of the week.
  20. There's not a single moment here in which Nixon is admirable, decisive or appealing. Nixon doesn't work as a drama, but with a little push it might have been a great comedy.
    • 42 Metascore
    • 25 Critic Score
    Trade is a total misfire, a strange attempt at making a buddy movie featuring a morose Kevin Kline and a 17-year-old Mexican boy looking for his kidnapped sister.
  21. This is the first Focker installment not directed by Jay Roach, who did a good job balancing the yuks with the more outrageous gross-outs. That comic-revolting parity shouldn't be much of a challenge for "American Pie's" Paul Weitz, and yet the skeevier bits aren't especially funny.
  22. The action comes so fast and furious in Furious 7 that, for all the explosions and overturned cars and missiles fired on downtown Los Angeles, it becomes a dull muddle. Here and there, we get the imaginative and outrageous stunts this series is famous for, but mostly the movie plods along, muscling through without much life or spirit.
  23. Faced with a story that doesn't make much sense, the filmmakers switch gears and try for a sociological statement - something about the marginalized and the neglected. This makes for a funny last five minutes, but sad, too, because Walker was better than this, even if his movies sometimes weren't.
  24. The To Do List is a romantic comedy with no romance and little comedy, but with an ugliness of spirit that's surprising and unrelenting.
  25. How many doubts can Lee possibly cram into one motion picture? Red Hook Summer has almost too many to count: moments that go clunk, followed by others that go clang; actors who talk as if reading their lines off cue cards or rehearsing them for the first time; and set pieces that lie there.
  26. The picture, which marks the debut of Mexican film maker Guillermo del Toro, is a dull hybrid - a ponderous art film crossed with a vampire story. [06 May 1994]
    • San Francisco Chronicle
  27. It's a romantic comedy with insights into sex and relationships that are old and obvious.

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