San Francisco Chronicle's Scores

  • Movies
  • TV
For 7,057 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 1.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 The Immigrant
Lowest review score: 0 Show Dogs
Score distribution:
7057 movie reviews
  1. The desire to go back in time to change things -- or just to visit -- is so central to the experience of being alive and stuck in time that Timecop has a built-in power. It's a power the film, a satisfying science-fiction thriller, takes full advantage of.
  2. The problematic result is not that The New Age is bleak -- bleak is fine. We all like bleak. The problem is that The New Age becomes static. [30 Sept 1994, p.C1]
    • San Francisco Chronicle
  3. Robert Redford's exceptionally handsome and provocative Quiz Show manages a trick that few films even dare try -- to take a hard look at personal and public moral issues and still provide dazzling entertainment.
  4. The Next Karate Kid' has all the makings of a terrible movie, but it never quite becomes one. One reason might be that cinematographer Laszlo Kovacs just loves a beautiful picture. [10 Sep 1994, p.E6]
    • San Francisco Chronicle
  5. The evocative nature of Nelson's stillness is essential to the whole last movement of Fresh, an intricately plotted series of unexpected and related events. In a way, the audience has to read the meaning of the ending in Nelson's face. Fortunately Nelson has a face that can make you believe anything. [31 Aug 1994, p.E1]
    • San Francisco Chronicle
  6. Some of "The Shawshank Redemption'' comes across as outrageously improbable. Yet the film keeps pulling you back with its sense of striving humanity slowly turning the tables against evil.
  7. An entertaining but exhausting satire on tabloid media and the way they feed our thirst for violence, Natural Born Killers stars Woody Harrelson and Juliette Lewis, in banshee-out-of-hell performances, as serial killers Mickey and Mallory Knox -- a trashy, gonzo/weirdo version of Bonnie & Clyde. [26 Aug 1994, p.C1]
    • San Francisco Chronicle
  8. Director Stephan Elliott too easily buys into the drag queens' conception of themselves as valiant pursuers of illusion, without ever questioning the value of the illusion being pursued.
  9. Although the picture's title and promotion might lead you to expect another "Wayne's World," Airheads is something more substantial. It's a spoof of heavy-metal culture that at the same time respects the vitality and pent-up passion behind it.
  10. The plot alone is a thing of beauty.
    • 74 Metascore
    • 75 Critic Score
    There are moments of satirical humor sparked by Ted's stiff, earnest demeanor and Fred's glib, transparent conniving.
  11. Ideally It Could Happen to You should be fun all the way, with the audience confident things will turn out right. Instead it's mostly annoying, with an ending that feels tagged on.
  12. For a little while The Client seems as though it's going to be a battle of wits between the two lawyers played by Sarandon and Jones. The interplay between the two is the best thing about the movie. [20 July 1994, p.E1]
    • San Francisco Chronicle
  13. At its best, Forrest Gump is a gentle, elegiac fantasy about love and trust.
  14. Every hair is in place in writer-director Lawrence Kasdan's epic-length Wyatt Earp. What's missing is a heart. Yet if this large-scale western is a bore, at least it's a beautiful one. [24 Jun 1994, p.C1]
    • San Francisco Chronicle
  15. What more or less saves the movie is not the humor as much as it is the action. City Slickers II, lame as it is, keeps hobbling along in an appealing way through a Wild West landscape. [10 Jun3 1994, p.C3]
    • San Francisco Chronicle
  16. At least it can be said that Renaissance Man, the new Penny Marshall film arriving at theaters today, has its heart in the right place and that star Danny DeVito comes across as thoughtful, intelligent, even sweet. [03 Jun 1994]
    • San Francisco Chronicle
  17. The Beverly Hills Cop formula shows serious signs of wear in its third outing as Eddie Murphy tries desperately to hold onto his tough-guy, mock-grin edge while screenwriters and director John Landis do little more than stir-fry lame gags with furious but tiresome fusilades of gunfire. [25 May 1994, p.E1]
    • San Francisco Chronicle
  18. Campbell and Edwards work wonders with the rocky, wide-open Oregon landscape, but none of their periwinkle-blue skies and sparkling shots of whooping cranes in flight can compensate for a film that aims high, means well, and ultimately fails its audience. [20 May 1994]
    • San Francisco Chronicle
  19. Turning the comic game slightly on its ear and injecting it into a romantic Western setting, Maverick, inspired by the old TV show, plays its ace for all it's worth. Ace, in this case, is fun. [20 May 1994, p.C1]
    • San Francisco Chronicle
  20. Crooklyn is loud and raucous and occasionally cruel. The actors shout their dialogue, the kids trade insults and the movie has the strained, desperate-for-fun anxiety of a TV sitcom. [13 May 1994, p.C1]
    • San Francisco Chronicle
  21. A mixed bag concocted with an almost willful aim to be quaint and a little arty, but one with small wonders poking through its soft, somewhat plain fabric. [06 May 1994]
    • San Francisco Chronicle
  22. With Kika Almodovar seems to be saying something about voyeurism, though what he is saying is never nailed down. [27 May 1994, p.C3]
    • San Francisco Chronicle
  23. Badly made, badly acted and badly written. [07 May 1994, p.E3]
    • San Francisco Chronicle
  24. The movie is never much more than fluff. But, like director Donald Petrie's previous film, "Grumpy Old Men," it has an honest core that enables it to keep its balance. [29 Apr 1994]
    • San Francisco Chronicle
  25. Red Rock West' is filled with delightful twists of plot, and the twists start coming early -- so we'll leave off talking about the story. [28 Jan 1994, p.C3]
    • San Francisco Chronicle
  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. Naked Gun 33 1/3 is a feast of pointless, shamelessly silly, almost consistently funny gags. Another comic gem. [18 Mar 1994, p.C1]
    • San Francisco Chronicle
  28. The Hudsucker Proxy is the Coens' fifth feature in a decade, and you can see their tremendous artistic growth in every frame of the film. Classically composed, beautifully shot by Roger Deakins ("Barton Fink") and co-produced by legendary action-flick producer Joel Silver, Hudsucker has technique and visual invention to spare. [11 Mar 1994, p.C3]
    • San Francisco Chronicle
  29. Sirens is affectionate toward its characters without getting gushy or softheaded. [11 March 1994, p.C5]
    • San Francisco Chronicle

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