San Francisco Chronicle's Scores

  • Movies
  • TV
For 6,723 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 0.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Donnie Brasco
Lowest review score: 0 Vanishing on 7th Street
Score distribution:
6723 movie reviews
  1. Anderson almost brings off a picture worthy of his grandiose ambition.
  2. Hushed minimalism is a rare and appealing quality in the cinema these days, but so little happens in 35 Shots of Rum that I'm hard-pressed to describe the plot. It doesn't exactly have one.
  3. It's an endurance test. Though never boring, the movie is a fairly long slog through the snow.
  4. Her
    The story is too slender for its two-hour running time, and the pace is lugubrious, as though everyone in front and behind the camera were depressed. But the biggest obstacle is the protagonist (Joaquin Phoenix), who is almost without definition.
  5. A sweet but curiously unfulfilling story.
  6. Yet all this wit and effort and occasional beauty is in the service of a movie that is little more than a two-hour chase scene, one that seems founded on the assumption that if you show one set of people chasing another, that’s enough to get an audience excited: Oh, no, let’s hope they don’t get caught!
  7. Beautiful but hollow.
  8. It’s sincere and intelligent — but it’s weak as a social statement and even weaker as drama.
  9. For art lovers, though, there is plenty to savor.
  10. Unlike other recent films noirs -- ''The Grifters,'' for example, or ''After Dark, My Sweet,'' both of which were based on Thompson stories -- One False Move lacks style and wit, and doesn't explore its characters beyond their cheap, cruddy exteriors. [24 June 1992, p.E1]
    • San Francisco Chronicle
  11. Naysayers have been claiming for years that the "Moneyball" book wouldn't work as a movie. But ultimately, it's the cinematic touches that keep this film version from becoming something exceptional.
  12. This is highly skilled filmmaking, but the movie is not for everybody — the relationship involves dominance and submission, sexual games played at a high pitch. This material falls short of pornographic, but still packs plenty of erotic punch.
  13. In the end, the film shakes down as a kind of eat-your-spinach exercise, a movie that’s worthy and perhaps good for you, but is labored and only enjoyable intermittently.
  14. Doesn't hit its stride until the last 30 minutes, and by then, it's just a little too late.
  15. If it were just a middling effort, The Master would be a lot less frustrating. But the latest from writer-director Paul Thomas Anderson has greatness in it - two extraordinary performances, intuitive and revealing photography and scene setting, and a distinct directorial sensibility that hovers between sobriety and satire. Yet all those virtues are undermined by a narrative that goes all but dead for the last hour.
  16. Take Shelter has a problem, the simplest of all problems but no less serious for its being simple. It's a film without suspense and with a slow-moving story that unfolds without surprise or embellishment.
  17. If you needed that explanation, April and the Extraordinary World might not be for you. If you’re a steampunk fan, by all means go. Just don’t expect a classic.
  18. Though the movie is riddled with memorable scenes of violence, its pace is slow -- too slow. It has an epic sprawl, but it's not an epic. It's more like a bloated fairy tale. [7 Aug 1992]
    • San Francisco Chronicle
  19. What Laika achieves is an effective mixture of hyper-real and hyper-stylized, a combination that keeps “Kubo” appealing to the eye for audiences of all ages. If the film’s plotting and dialogue had measured up, “Kubo” might have been a masterpiece.
  20. Really doesn't pay off much.
    • 84 Metascore
    • 50 Critic Score
    Part travelogue, part narrative and part art-history class. The class is what's best about this pretty decent movie.
  21. Infused with a dark charm that will appeal to some girls, A Little Princess, based on the classic novel by Frances Hodgson Burnett, is as near to a mannered, lushly photographed Merchant/Ivory-style film as you'll get in a kids' movie.
  22. Its slow-boiling brew of dread turns out to be more tepid than terrifying.
  23. The result is a movie that's kinetic yet slow, whose joys are architectural more than spiritual.
  24. A corny, overblown romance, and while it eventually wins you over with its atmosphere and good nature, it's far from the masterpiece you've been hearing about. [15 Jan 1988]
    • San Francisco Chronicle
    • 83 Metascore
    • 50 Critic Score
    What it brings to the filming of a rock concert other than novelty remains to be seen.
  25. The result is a beautiful void, a structureless emptiness buoyed by some good scenes and performances.
  26. As for the movie’s ultimate resolution, nothing specific can be said here, except that it borders on inexcusable.
    • 83 Metascore
    • 50 Critic Score
    What looks good on paper contracts doesn't guarantee results. Stylized but spasmodic, this "Sweeney" seems more interested in distancing than captivating an audience.
  27. 127 Hours, about an unimaginably unbearable experience, is pretty much an unbearable experience of its own. And yet, it must be said, it's exceptionally well made.

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