San Francisco Chronicle's Scores

  • Movies
  • TV
For 7,017 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 0.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Detroit
Lowest review score: 0 8 Heads in a Duffel Bag
Score distribution:
7017 movie reviews
  1. In this one masterpiece, Federico Fellini achieved the ideal balance -- between social observation and unconscious imagery, between artistic discipline and freedom, and between the neo-realism of 1950s Italian cinema and the orgiastic flights of his later work.
  2. Anderson almost brings off a picture worthy of his grandiose ambition.
  3. Perfect pitch.
  4. Days of Heaven is a visual poem. Slow and elegant, reverential in the way it celebrates the earth's contours and the play of light. [27 Oct. 1999, p.B3]
    • San Francisco Chronicle
  5. Crumb is one of the most provocative, haunting documentaries of the last decade.
  6. By the end, The Diving Bell and the Butterfly achieves a victory over difficult material, but celebrating that fact doesn't preclude recognizing the story is not a natural for movies and remains an uneasy match.
  7. This is the most realistic film about teaching that you're ever likely to see.
  8. The movie is a rendering of the internal landscape of a contemporary cowboy, with the complexities and ambiguities left intact. It’s a kind of parable, delivered in a manner that has nothing to do with preaching.
  9. 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.
  10. Brother's Keeper is a thoroughly engaging examination of the whole curious affair by two New York City-based film makers, Joe Berlinger and Bruce Sinofsky, who document with a distinctive underlying humor and a feeling for contrasts between urban and rural America. Sometimes that contrast is touching, sometimes painfully hilarious, and often a little gloomy as the film delves into the lives of the surviving brothers to reveal a community with genuinely humane values, but one ripe for exploitation by the big city media. [16 Oct 1992, p.C4]
    • San Francisco Chronicle
  11. The results in an experience that is smooth sailing for the first 45 minutes, but then hits a slog that goes on for another 40, before the movie revives again in its last half hour. Obviously, a film can’t be great if you spend 40 minutes wishing the thing would end already. A 95 minutes, The Florida Project could have been a masterpiece.
  12. The film has aged gracefully.
  13. Apocalypse Now is a mixed bag, a product of excess and ambition, hatched in agony and redeemed by shards of brilliance. The new Redux version isn't a better film, but for Coppola fans and film lovers, it's essential viewing.
  14. Gets it right. It's a wonderful movie. Watching it, one can't help but get the impression that everyone involved was steeped in Tolkien's work, loved the book, treasured it and took care not to break a cherished thing in it.
  15. An indelible statement on loneliness and spiritual thirst.
  16. Toy Story 3 is a better film than "Wall-E" and "Up" in that it succeeds completely in conventional terms. For 103 minutes, it never takes audience interest for granted. It has action, horror and vivid characters, and it always keeps moving forward.
  17. It’s a testimony to how much this is a live issue in Indonesia that some of the credits are listed simply as “anonymous.”
  18. Keith Maitland’s powerful and emotional documentary Tower — easily one of the best films of the year — takes a novel approach for a nonfiction film: Animation.
  19. Not always pleasant to watch.
  20. It's an endurance test. Though never boring, the movie is a fairly long slog through the snow.
  21. He never indulges in schmaltz or melodrama, as most American filmmakers do when approaching this theme -- think of "It's a Wonderful Life" or the awful "When Dreams May Come" -- but delivers a delicate meditation rich with emotion.
  22. Spielberg's sledgehammer way with emotional moments, never more obvious than here, kills some of the pleasure for adults and robs the movie of the ultimate laurel -- classic status. [2002 re-release]
  23. Impossible to describe, impossible to forget, The Triplets of Belleville sends audiences tottering out of the theater, dazed and delighted, and wondering what it is they have just experienced.
  24. Clearly a minor classic, mainly for reasons besides its crime story plot -- namely, the urbane fatalism of its cast and the overall mood of inevitability that hangs over every scene.
  25. An absolute delight, combining the cheap thrills of a biopic with the gentler, but more lasting, pleasures of a brilliant character study.
  26. 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)
  27. This is a movie that you will admire both for its courage and its creativity.
    • 91 Metascore
    • 100 Critic Score
    Has more originality, nitty-gritty humor, spirit and spunk than all the summer blockbuster retreads combined. Underneath the jousting and jiving, there's a sharp, uncompromising look at the anatomy of a race riot in the movie. [30 June 1989, Daily Notebook, p.E3]
    • San Francisco Chronicle
  28. Riveting.
  29. The best movie of 2008? The most revealing war film ever made? The greatest animated feature to come out of Israel? All these descriptions could apply to Waltz With Bashir.

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