San Francisco Chronicle's Scores

  • Movies
  • TV
For 6,022 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 War Dance
Lowest review score: 0 Lies
Score distribution:
6,022 movie reviews
  1. Devoid of thrills, and with nothing even vaguely frightening to distract moviegoers, it becomes clear that the story wasn't worth telling in the first place.
  2. Often frustrating and at times incomprehensible, the Bourne/Bond clone keeps the pulse racing but ultimately fails to satisfy.
    • 45 Metascore
    • 25 Critic Score
    Uninspired and only faintly funny.
  3. As a first-time director, Falcone has trouble maintaining a specific tone - the movie wobbles back and forth between sentimentality and silliness, sometimes even within the same scene.
  4. This noir mystery is murkier than it needs to be, through no fault of Stallone's.
    • 13 Metascore
    • 25 Critic Score
    Too predictable, but kids should like it.
  5. Inside 10 minutes, at most 15, Be Kind Rewind reveals itself as an awful mess, and it only gets worse.
  6. Not surprisingly, only Samuel L. Jackson seems fully to understand that he's in a bad movie, and he makes a virtue of it, using it as an excuse to hang loose, overact and ride the scenes for wherever they might go.
  7. A disgrace to the talents of Robert De Niro and Eddie Murphy, but it's not enough just to say that. It's also a disgrace to the talents of Rene Russo and whoever drove the coffee truck to the set every day.
  8. A thriller without thrills. It's also a thriller that cheats. The story is stretched to feature length only by having the film's incidents arranged in such a way as to reveal as little as possible.
  9. An adventure in mediocrity that brings together some of the worst current techniques and trends.
  10. Piles cliched character upon cliched character, and then doesn't give any of them very much to do.
  11. Hoodlum is an overlong gangster movie, a bloated and often laughable attempt at an epic.
  12. Dull and uninteresting.
  13. It's as if there's a barrier between the viewer and the story that never comes down.
  14. Everything about it is manufactured -- the emotions are false, the sentiments are phony, and the story is a construction of mirthless silliness. It's a product, not a creative expression.
  15. Always is such a lamentable production _ hardly a moment rings true _ that you almost feel like saying ''pardon me'' when you wonder why it apparently didn't occur to Spielberg or anyone else involved that no chemistry was taking place. Not only are the stars rather uninteresting people, they don't seem to like each other in any way that you can feel. [22 Dec. 1989, p.E1]
    • San Francisco Chronicle
  16. That was probably writer-director Roman Coppola's main responsibility in "Charles Swan," to give the audience a character worth watching. Get that right, and everything else falls into place. Get that wrong, and the audience finds out just how long 84 minutes can be. The answer: really long.
  17. The ridiculous complications might have worked if there had been an awareness of how absurd they are.
    • 58 Metascore
    • 25 Critic Score
    Intrusive, excessively brooding and narcissistic.
  18. The result is a well-intentioned mess -- a dishonest fantasy that begins with promise and gets more frustrating with every scene.
  19. A complete bust, but the ways in which it fails are interesting.
    • 36 Metascore
    • 25 Critic Score
    It is exactly as one might imagine it: slapstick humor, gross-out monsters and more self-referential digs per minute than "Arrested Development."
  20. Flimsy mockumentary.
  21. The effect of the 2 1/2-hour film is deadening.
  22. This is a story that should have been, at the absolute most, 20 minutes long.
  23. At best a little boring and at worst stomach-churningly offensive.
  24. It's a movie packed with so many idiot characters that Rob Schneider is cast as the cool guy -- and sort of pulls it off.
    • 29 Metascore
    • 25 Critic Score
    The film is an improvement on previous Sparks moody-doomed-love opuses such as “The Last Song” and “Dear John.” If that is damning with faint praise, the cogs here are the same as in his previous love machines
  25. What we have is the case of a movie with a straight man (Jason Lee) who really is funny, but with a comic (Tom Green) who sadly isn't.

Top Trailers