San Francisco Chronicle's Scores

  • Movies
  • TV
For 6,985 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 Yi Yi
Lowest review score: 0 AVP: Alien vs. Predator
Score distribution:
6985 movie reviews
  1. The film is exciting in two big ways: its simplicity of story (Tanovic does not get bogged down trying to give us an epic history) and the breadth of Tanovic's vision.
  2. There's no joy and little playfulness about this caper comedy, which, despite a lighthearted script, has a sober undertone to it, almost a melancholia.
  3. A picture so infectious it almost seems original.
  4. A disappointment, a precious and grotesque exercise reminiscent of Jean-Pierre Jeunet's "Delicatessen," only less amusing.
  5. Stettner approaches this material with a playwright's incisiveness and structural sense. His dialogue is cutting, often surprising.
  6. Plays like the cinematic equivalent of a paperback bodice- ripper with embossed type.
  7. Behind Enemy Lines has a wretched script and a director (first-timer John Moore) who either has no taste or doesn't know what he's doing.
  8. Great pleasures.
  9. Really is just an excuse to string together some silly fake-movie clips.
  10. Maybe there's a metaphor here, but figuring it out wouldn't make Trouble Every Day any better.
  11. Few who see it will be sorry. Sometimes being humane means not being squeamish.
  12. Brothers Oxide and Danny Pang co-directed. What they lack in discipline they make up in razzle-dazzle, even if it sometimes is pointless.
  13. 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.
  14. Burns has a hard time finding a central idea, some overall point that isn't borrowed or trite. Or both.
  15. The film doesn't explore the nature of ghosts, as it promises to initially, but it's fun to watch Del Toro confront death and fear with such energy and humor.
  16. Enormously satisfying and fun to watch.
  17. Martin Lawrence finally gets to show what he can do as a screen comedian.
  18. A purposely inane mishmash of maudlin love story, gastrointestinal gags and shredding snowboard scenes, Out Cold has a couple of laughs but mostly wipes out.
  19. A lively, ultimately sad portrait.
  20. Spins an unconvincing, miscast noir tale.
  21. Absolutely the best single moment, beautifully presented, comes when the orphaned Harry looks in a mirror and sees his parents there. It is brilliant in its simplicity and very moving.
  22. It's hard to give two hoots about any of these characters.
  23. The picture itself seems stoned. Line readings and whole scenes are abandoned midstream, as if Pooh lacked the attention span to see his ideas through.
  24. Well-intentioned but predictable romance.
  25. The belly laughs finally start to come --legitimately.
  26. Even a mediocre David Mamet movie is still a David Mamet movie. That means there are lines to savor, partly because the lines are so good, partly because they are so Mamet.
  27. It's called One, and the hemorrhaging begins with the so-called story, which doesn't quite add up to one.
  28. A tale of yuppie conformity and domestic angst that quickly turns into a horror film.
  29. Funny and sweet enough to delight kids and inventive enough to satisfy adults.
  30. A charmer, a movie whose embrace of cinema is so passionate it could be mistaken for an embrace of life.

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