San Francisco Chronicle's Scores

  • Movies
  • TV
For 5,811 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 0.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Harvard Beats Yale 29-29
Lowest review score: 0 Faster
Score distribution:
5,811 movie reviews
  1. It takes about 20 minutes to catch on that Friday is without narrative drive - and about as long to figure out that the film offers nothing better in place of it.
  2. The bad outweighs the good and the cringes outnumber the laughs in BrĂ¼no, a disappointment from Sacha Baron Cohen, whose "Borat" was one of the funniest movies of the decade.
  3. Remaking Get Smart for the big screen might have sounded like a bad idea, but the movie shows it to have been something else: a REALLY bad idea.
    • 54 Metascore
    • 25 Critic Score
    Plays like a movie that some teenage boy cooked up in his chemistry lab. There are lots of potent things floating around in it - sexual initiation, drugs, fantasy-land wealth, brute violence, primitive rituals, Diane Lane and Donald Sutherland - but the mix just sits there without producing any notable reactions.
    • 54 Metascore
    • 0 Critic Score
    But who cares what grumpy old grown-ups think? This reviewer watched with two movie-loving kids, and they did each laugh. Twice.
  4. A cute movie, a little too cute and a little too aware of its own cuteness.
  5. Gerry is ragingly bad art that contributes to a definition of independent film as something no one would want to sit through.
  6. It is crystal clear who screwed up this tortuously slow-moving romantic drama.
  7. Its single biggest failing - an affront to Lewis Carroll and the charms of nonsense literature - is that it makes sense.
  8. Imagine the worst "Deadwood" episode ever, and you'll get an idea of the general tone of Beowulf & Grendel, which is full of anachronistic cursing, tortured syntax, dark humor and lots of hairy, homely, filthy-looking people.
  9. The prologue sets a simpleton tone that, distressingly, continues throughout.
  10. A handful of acting moments aside, Being Flynn is a drama without much in the way of rewards.
  11. RocknRolla attempts to depict a world of ever-expanding chaos. But the chaos is only in the way the story is told. The actual vision Ritchie offers is pedestrian and tame.
    • 53 Metascore
    • 25 Critic Score
    None of it works, except for some moody cinematography, the on-screen charisma of lead actor Brad Pitt, moussed to the max as Johnny Suede, and the sheer likability of a few of his co-stars. [05 Feb 1993]
    • San Francisco Chronicle
  12. Amateur gives the impression of a sloppy first draft. It begins with a splash, meanders until it reaches feature length, then ends abruptly.
  13. Franco Zeffirelli's Hamlet, a senselessly adapted, ill-conceived, poorly acted mess of a film that's guaranteed to frustrate anyone who loves the play and to put everybody else to sleep. [18 Jan 1991]
    • San Francisco Chronicle
  14. May not be a very enjoyable movie, but at least the badness is in good taste.
  15. Everything about the idea of Mr. Popper's Penguins sounds lovely, and everything about the actual movie is ugly.
  16. Doesn't accomplish its objective.
  17. It looks spiffy. It has an attractive cast. Marcel Zyskind's cinematography seethes and shines. And it's a crock.
  18. In an attempt to be complex and fair-minded, a simple story becomes a jumble of confused motivations.
  19. As weird as it sounds.
  20. The Signal starts off as an alien version of "Blair Witch Project" and then drifts off into cold plotlessness. But for a while, a little while, it seems like it just might be interesting.
  21. Australia shows all the signs of having been a labor of love for director Baz Luhrmann. One problem: It's his love, and the audience's labor.
  22. The moments of action are interspersed with lengthy plot developments that are hard to follow.
  23. It's as if there's a barrier between the viewer and the story that never comes down.
  24. More than the usual bad or even numbingly horrible movie. It's an amalgam of many of the modern cinema's worst tendencies and modern filmmaking's most unfortunate misconceptions.
    • 53 Metascore
    • 25 Critic Score
    It's a ho-hum-er, almost a complete bummer. [6 Jan 1989, Daily Datebook, p.E1]
    • San Francisco Chronicle
  25. Every single thing wrong with John Dies at the End might have been avoided had John died at the beginning, along with all the other characters, transforming an awful full-length movie into a harmless five-minute short.
  26. An utter debacle.

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