San Francisco Chronicle's Scores

  • Movies
  • TV
For 6,792 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 0.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Score distribution:
6792 movie reviews
  1. Feels positively Greek in its magnitude, a lament about fate, age, time and life.
  2. Nostalgia for the Light is a strange and stunning work of art: a poem disguised as a movie about astronomers in the Atacama desert of Chile.
  3. Until this film, these Shin Bet directors had never consented to an interview. Now that they've spoken - and have said the unexpected - we can only wonder if their words will have an influence.
  4. Ida
    Ida is a rarity, a film both intensely grounded in painful historical reality and genuinely otherworldly.
  5. It's a movie filled with surprises, including one outright kick in the head that qualifies as one of the biggest movie moments of 1992. [18 Dec 1992]
    • San Francisco Chronicle
  6. This is one helluva drama, with one helluva star turn by Jennifer Lawrence as Ree.
  7. As the title suggests, she might as well be on trial for her life. That’s the absurdist but eerily true premise behind this provocative Israeli feature film, which takes us to the world of the Jewish religious courts, a place where only rabbis can decree a divorce — and where husbands wield stupefying power.
  8. Ultimately, Collin’s film is one of forgiveness. That’s not the usual way great tragedies end.
  9. One of the best crime dramas to come along in years.
  10. A great achievement: tense and passionate, a film that one feels not just emotionally but also physically.
  11. A great experience, precisely because it's so intimate and unguarded.
  12. 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.
  13. Among the great American crime movies, 1973's Badlands stands alone. [13 Feb. 1998]
  14. An overwhelming experience.
  15. Egoyan's voice is so clear and loving, his vision so forgiving and his film so intelligent that you come away refreshed.
  16. It not only evocatively captures the Russian spirit and the yearnings of a generation, but it also masterfully chronicles the historic collapse of the Soviet Union and its complex aftermath.
  17. The visuals pop, the fish emote and the ocean comes alive. That's in the first two minutes. After that, they do some really cool stuff.
  18. This Is Not a Film isn't just a film, it's a strong one. It's also an act of political defiance, a moving personal document and a meditation on what film is and can be.
  19. Part of the appeal of Topsy-Turvy is its generosity about human folly and shortcomings. Its wistfulness is very touching.
  20. It's tremendously entertaining, and probably worthy of repeat viewings.
  21. Magnificent but somewhat frustrating movie.
  22. The visual and emotional hues are darker [than previous Pixar films], and the focus rests more on middle age than coming of age. The adventures of a family of superheroes are likely to thrill and amuse children, but the film's more grown-up themes might go over their heads.
  23. If his two previous films suggested a director dipping a few toes in dark waters, Un Prophete marks the moment when Audiard took the plunge.
  24. A sweet but curiously unfulfilling story.
  25. It's a humane and witty treatment of an average life that, incidentally, speaks to the worth and inherent drama of average lives.
    • 90 Metascore
    • 100 Critic Score
    Sad funny and richly romantic, everything that makes Allen’s movies so beloved. [7 February 1986, Daily Notebook p.76]
    • San Francisco Chronicle
  26. A British costume film that's funny but not at all fusty.
  27. This beautifully shot film (kudos to cinematographer Paul Yee) could have easily been an incoherent mess, but Holmer keeps her lyrical movie under control at all times.
  28. There's just nothing artful about it, and it's Greengrass who deserves the credit. These nonactors don't act the way most people do when playing themselves. They act the way people do when they're being themselves.
  29. 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!

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