San Francisco Chronicle's Scores

  • Movies
  • TV
For 6,796 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
Highest review score: 100 Gomorrah
Lowest review score: 0 One Night at McCool's
Score distribution:
6796 movie reviews
  1. A film of great sadness, but also a galvanizing depiction of heroism.
  2. The movie is as interesting as spying on your neighbors during the most interesting 85 minutes of their lives.
  3. Like her (Cholodenko) other movies, this one has vivid characters and strong performances and flows like a slice of life set in an appealing, interesting world. But this one also has a good story and, if you're paying attention, a distinct point of view.
  4. There may not be a better- acted film this year.
  5. A little abhorrent yet strangely appealing. I found it arty and pretentious, but still couldn't turn my eyes away from its almost hypnotic coolness and fascinating psychological horrors. [23 Sept 1988]
    • San Francisco Chronicle
  6. Art history lessons don't get much better: Cave of Forgotten Dreams presents the world's oldest paintings captured by one of film's great visionaries.
  7. One of the charms of The Red Turtle is a chance to savor the joys of clean and simple animation suggestive of the old hand-drawn school, which is part of what makes the film, a quiet, humanistic fable, one of the best of its kind in memory.
  8. When it's over, this documentary lingers as a testament to extraordinary human bravery. It stands as one of the most heartbreaking and suspenseful sagas of the year.
  9. A famous French actor using his art to work through the loss of his wife and daughter in a car accident. The strategy works, at least for a while.
  10. A lot of actors are labeled "brave" for taking on difficult scripts like this, but Spacek is the real thing: an artist first, without vanity, and a movie star almost by default.
  11. Ten
    A minimalist film, Ten looks and feels like a documentary. At the end, there is no big denouement, but a profound realization that the people we see on camera are all aching for answers -- and struggling to come to terms with their lives.
  12. The movie examines the possibility of maintaining one's humanity in a truly oppressive society.
  13. This is a beautiful film, full of gray-and white-haired men who grow in stature before our eyes.
  14. The Shape of Water is brilliant, but sick — or maybe it’s sick, but brilliant. In any case, it’s something to see.
  15. Nobody's Fool functions mostly as a character study, but it's also Benton's elegy to America's endangered small towns. It's a gem.
  16. A lively experience.
  17. A visually spectacular film, distinguished by strong performances and brilliant Steadicam photography that snakes through the U-boat as its patrols the North Atlantic during World War II. [Director's Cut]
  18. The spellbinding power of this almost certain Oscar nominee for best documentary comes from its chilling subject matter.
    • 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
  19. 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.
  20. 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.
  21. 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
  22. This is Rampling's film, and she's never less than surprising, never less than a revelation.
  23. Explosive entertainment, with the tension and volatility of its subject matter.
  24. 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.
  25. You don’t see many sci-fi action extravaganzas that are about late middle-aged disappointment, about wondering what it’s all about and whether any of it was worth it. It’s this element that gives The Last Jedi an extra something, a fascinating melancholy undercurrent.
  26. 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.
  27. The movie is a stunner, so hypnotic that the length hardly matters.
  28. Ambitious and brilliant.

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