San Francisco Chronicle's Scores

  • Movies
  • TV
For 6,768 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 Lost Boys of Sudan
Lowest review score: 0 Insidious: Chapter 3
Score distribution:
6768 movie reviews
    • 86 Metascore
    • 75 Critic Score
    I just don't know how all this sweetness and light will go down with a teenaged movie audience presumably gung-ho with Rambo - especially now that he's got the presidential seal of approval. And that's no joke, son! [3 July 1985, p.58]
    • San Francisco Chronicle
  1. I'll go ahead and call Drug War the best Hong Kong action movie since "Infernal Affairs" (the 2002 film that Martin Scorsese remade as "The Departed"), even though technically it's a Chinese film.
  2. Nanjiani is engaging throughout, though the scenes of his standup routine are a little confusing. He’s not funny, not even slightly. Is he supposed to be? That’s not clear.
  3. The main source of astonishment is the precision exhibited everywhere, from the slyly vintage look of Rodrigo Prieto's cinematography to the gradual, cinching tension in Chris Terrio's careful screenplay.
    • 86 Metascore
    • 100 Critic Score
    [Frears] has not only captured the bleak qualities of the old film noir melodramas but supplied an undercurrent that is as sly as it is unsettling. [25 Jan 1991]
    • San Francisco Chronicle
  4. This is Rampling's film, and she's never less than surprising, never less than a revelation.
  5. Explosive entertainment, with the tension and volatility of its subject matter.
  6. This is Almodovar's stab at serious drama, and the result is bizarre and affecting but also unsettling in ways that the filmmaker may not have intended.
  7. The movie is a stunner, so hypnotic that the length hardly matters.
  8. Ambitious and brilliant.
  9. The script and direction are virtually flawless.
  10. This is formidable filmmaking, and Heineman has become one of our most daring, and interesting, documentarians.
  11. Only a director who truly knows repression could have made a movie so subtle and so understanding.
  12. A stirring romance between an emotionally stifled sheep farmer and an irrepressible Romanian migrant worker, isn’t shy about paying homage to the classic “Brokeback Mountain,” but in many ways, this British film turns out better.
  13. Martin Compston, the young man-child of Sweet Sixteen, had never acted before, but his combination of sweetness and rage -- part puppy, part pit bull -- gives Sweet Sixteen a shot of reality and a big, aching heart.
  14. Remarkable also for the uniform excellence of its cast, and for the pleasure [Altman's] actors take in the wide berth he allows them. [24 Apr 1992]
    • San Francisco Chronicle
  15. Shrewd, highly controlled little film from Belgium that builds to an unexpected emotional climax.
  16. Having hooked us with style, Wright knows he has to deliver on the story, and he does. His plotting is tight and fluid, wild and ultimately satisfying. It’s the ultimate cliche to compare a movie to a thrill ride, but sometimes the cliche applies.
  17. One of Miyazaki's most kid-accessible movies, but still an unnerving film.
  18. An intense and chilling documentary.
  19. Ernest & Celestine builds a delicate and charming animated world, but you wouldn't want to live there.
  20. A wonder of a film -- a luminous, beautifully executed drama that gathers the best cast of the year -- the best American film of the year.
  21. Whatever you may feel about each side, it's hard to watch as city officials order explosives to be dropped on the MOVE house (which has a bunker on top) - and then sit idly by as the resulting fire burns the entire neighborhood. You'll keep asking yourself: How did it come to this? And hauntingly, no one has any answers.
  22. Fan has visual panache - Last Train Home has some gorgeously composed shots - but he also has something that can't be taught: The patience and understanding to allow a family to tell their heartbreaking story in their own way.
  23. The film is its own beast, and it's a rare one.
  24. The story’s eventual move into brutality is all the more devastating because of well-observed intimacy that preceded it.
  25. More than the standard, cranked-out genre piece. Its characters linger in your mind, and the quality of its actors lift the movie into another league. [14 April 1989]
    • San Francisco Chronicle
  26. It's an horrific and tragic story, but somehow made beautiful through the care and attention of Schnabel's direction and Bardem's tender, unforgettable performance.
  27. A thoughtful, satisfying action thriller.
  28. It's simply a quiet and heartbreaking look at the dynamics of one family. That's the beauty of it.

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