San Francisco Chronicle's Scores

  • Movies
  • TV
For 6,572 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 Youssou Ndour: I Bring What I Love
Lowest review score: 0 September Tapes
Score distribution:
6572 movie reviews
  1. A wonderful French offering whose jumping-off point is a bullfight.
    • 79 Metascore
    • 100 Critic Score
    Hurrah! Poetry and passion, comedy and tragedy are fused into one absolutely marvelous affirmation of independent spirit in Dead Poets Society. [2 June 1989, Daily Notebook, p.E1]
    • San Francisco Chronicle
  2. Seeing it is a time-bending experience, a way of visiting the past and glimpsing the past's idea of the future. A masterpiece of art direction, the movie has influenced our vision of the future ever since, with its imposing white monoliths and starched facades.
  3. Ten
    A minimalist film, Ten looks and feels like a documentary. At the end, there is no big denouement, but a profound realization that the people we see on camera are all aching for answers -- and struggling to come to terms with their lives.
  4. Explosive entertainment, with the tension and volatility of its subject matter.
  5. In the hands of visionary filmmaker Alexander Sokurov, this simple material makes for a haunting drama about war, generational relationships and the human condition.
  6. Harrowing and unforgettable film.
  7. The cruelty of his methods aside -- and Polanski wasn't the first director to terrorize an actor for the sake of a performance -- Repulsion is a frightening, fiercely entertaining experience that holds up to time. (Review of May 1998 revival)
  8. Ambitious and brilliant.
  9. This is a remarkable movie: lovely, slow-paced and almost silent, rich with pathos and deft comic gestures.
  10. He (Aronofsky) has put together a phantasmagoria of self-destructive obsession that is so visually astounding it becomes its own saving grace. Otherwise, we might not be able to bear it.
    • 84 Metascore
    • 100 Critic Score
    Remarkable.
  11. The film is exciting in two big ways: its simplicity of story (Tanovic does not get bogged down trying to give us an epic history) and the breadth of Tanovic's vision.
  12. Shot for shot, Big Eyes is one of the most beautiful-looking movies of 2014, but to say that isn’t enough, because it’s not just pretty, not just pleasing to the eye. It’s visually astute. It is made by people aware of what these screen images mean, what they refer to, and the psychological effect that they will have on an audience.
  13. An unflinching and historically rich rendering of an amazing story. He has made what is easily the best American film so far this year.
  14. Not every moment of the film is as potent as the book (which is noted for passages of passion and impassioned eloquence), but Cry, the Beloved Country overcomes its own limitations to become a glorious tribute to the workings of a faith that does not blind but opens up the human spirit.
  15. Feels like a streamlined improvement on the original.
  16. Now after 43 years in feature films, Danner has gotten the opportunity to show what she can do, and in I’ll See You in My Dreams, she is simply jaw-dropping, just wonderful.
  17. Turns out to be the most unnerving film of the year. Easy.
  18. Perrotta and Field succeed, not by guessing, but by knowing this world. They understand it enough to see it with cold precision -- and to approach it, at times, with disarming warmth. The characters aren't types, but people.
    • 79 Metascore
    • 100 Critic Score
    Jia’s languid style and exquisite framing complement his understated approach to the material, which opts for depth over melodrama. But Mountains May Depart is grounded in Zhao’s delicate performance, which is her best.
  19. This Is Not a Film isn't just a film, it's a strong one. It's also an act of political defiance, a moving personal document and a meditation on what film is and can be.
  20. A venemous Valentine to Hollywood sugarcoated with laughs.
  21. One of the most powerful romances of recent years, it is as generous as they come.
  22. To make a movie about that team and those games requires more than an ability to depict personal dramas or re-enact game highlights. It requires the re- creation of a world and a mind-set, and Miracle accomplishes both brilliantly.
  23. It's simply a quiet and heartbreaking look at the dynamics of one family. That's the beauty of it.
  24. There's something to be said for a formula picture done almost to perfection. In 2012, Emmerich gives you everything you expect, but gives it to you bigger.
  25. A wildly funny sex farce that smartly combines big-time silliness with sophisticated wit.
  26. By the time the ride is over, director Drew Goddard and co-writers Goddard and Joss Whedon will change course three or four times, nodding and winking but never losing momentum.
  27. Other films about Marie Antoinette have had their moments, but Benoît Jacquot's Farewell, My Queen is the first to give a real sense of what it must have felt like to live inside that palace as the walls were caving in.

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