San Francisco Chronicle's Scores

  • Movies
  • TV
For 7,021 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 0.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Wasted! The Story of Food Waste
Lowest review score: 0 Lies
Score distribution:
7021 movie reviews
  1. The epic and impassioned close that the saga deserves, a sweeping Wagnerian finish that's taut with suspense and wet with emotion.
  2. The crack in the pretty picture of America goes a lot deeper than we thought, thanks to Ray's brooding vision.
  3. A gripping documentary about the most exacting and expensive scientific experiment ever conducted, and one that may be among the most significant.
  4. An impassioned documentary about a damaged American family, includes moments that seem to cross the line of what is emotionally acceptable to show onscreen.
  5. If you're the type who doesn't go to art-house films , Murderball should be your exception. It's hard to imagine anyone could walk away from this movie disappointed.
  6. It's fascinating stuff, but secondary to Ebert's genuine passion for the movies, which, if anything, grew toward the end of his life. He saw film as a great civilizing force, "a machine that generates empathy," as he says in the film. If that idea appeals to you, see Life Itself.
  7. The Shape of Water is brilliant, but sick — or maybe it’s sick, but brilliant. In any case, it’s something to see.
  8. Delivers a full emotional palette without undue sentimentalizing.
  9. McKay doesn’t take sides in the immigration debate, although he is clearly sympathetic of these hard-working young men who experience great indignities to work jobs most of us would not want. His approach is more cinema verite than high-stakes drama. It is almost a gentle, sweet film.
  10. This is the heart-rending true story of a man with a seemingly benign preoccupation that turned into something close to madness and brought him to a terrible end.
  11. No one else makes movies like this Spanish director.
  12. A mesmerizing film that is the most stunning, tempestuous love story in a decade or two of movie making.
  13. Love & Friendship looks splendid. If the costumes by Eimer Ni Mhaoldomhnaigh (“Cavalry”) were any more beautiful, they’d be too beautiful.
  14. Be warned: This is not a movie for a first date. Or a second date. Or perhaps any date.
  15. Ghobadi infuses his movie with a humor that can almost be called Seinfeldian, and it's this mix of laughter with tears that gives Marooned in Iraq its big impact.
    • 86 Metascore
    • 100 Critic Score
    Marks a cinematic milestone.
  16. The experience of watching Daniel Day-Lewis in this role is nothing less than thrilling. This is Lincoln. No need for a time machine, there he is.
  17. Film is often too subtle and languorous for its own purposes: At times, it's close to soporific.
  18. The kind of picture to whip out the clichés for: Surprisingly original. Delightful. Brilliant. Funny as all heck. When 1989 is through, sex, lies, and videotape may well be remembered as the best film of the year. [11 Aug 1989, Daily Datebook, p.E1]
    • San Francisco Chronicle
  19. By the way, The Tillman Story has an R rating because of language. Think about that one, too: Lies are rated G and can be heard around the clock on television, but try saying the truth with the proper force and you end up with a restricted audience.
  20. The film's tone is extraordinarily flexible, holding within the same reality elements of the absurd, the ridiculous and the comic while sustaining a sense of tension and dread throughout. This is, of course, one of the classic Pacino roles - he's so appealing - but don't overlook the late John Cazale as his accomplice, who gives us a character who's stupid and scared, troubled and dangerous, and disturbingly inscrutable.
  21. Though much of Like Water For Chocolate simmers with humor and the stumbling plight of human life, the movie takes its soul from deeper strains -- unfulfilled longing, the tyranny of social customs in a macho-dominated world, and the final outrage that love and death are inseparable, often indistinguishable companions. [26 Mar 1993, p.C1]
    • San Francisco Chronicle
  22. An authentic piece of Americana. There's no lying or condescending from this director. Nebraska feels pure.
  23. The murder plot is a cheap turn that says nothing about the nature of Suzanne's ambition. Without Suzanne's media-obsession as its focus, To Die For becomes just another fairly good black comedy.
  24. This is an amazing record of a group of lives -- and probably more resonant than anyone could have imagined when the project began.
  25. All the actors are good, but it's Farnsworth's brilliantly simple performance that brings The Straight Story so close to greatness.
  26. With its dry, throwaway humor and constant stream of chuckles, it creates its own category of stealth comedy.
  27. Ages well in memory because it gradually seems to mean more. Its meaning can't be summed up in a sentence, but it has to do with a view of life as inexpressibly sad and yet always right.
  28. It may be as emotionally exhausting for the viewer as for the participants.
  29. What results isn’t a straight autobiography, obviously, but rather the autobiography of a career and, most importantly, the autobiography of a spirit.

Top Trailers