San Francisco Chronicle's Scores

  • Movies
  • TV
For 6,132 reviews, this publication has graded:
  • 53% higher than the average critic
  • 2% same as the average critic
  • 45% lower than the average critic
On average, this publication grades 0.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Twister
Lowest review score: 0 Redline
Score distribution:
6132 movie reviews
  1. This poor excuse for a thriller turns, with a great crunching of gears, into a mess of a buddy comedy. Either way, it misfires.
  2. As it stands,The Fourth Kind boasts a creepy kind of joke - and a confusing kind of horror.
  3. A disappointing sequel to the far funnier "Diary of a Mad Black Woman."
  4. The need for a sequel was zero - proved by the fact that the characters end the movie pretty much exactly where they started it.
  5. In the important things, in all the ways that really count, Caché is a handsome fraud.
  6. An ill-conceived comedy.
  7. The performers don't really seem at the top of their game here.
  8. The reboot of the "Friday the 13th" series is a pretty big mess - not particularly scary or interesting or even gory by 21st century movie standards.
    • 56 Metascore
    • 25 Critic Score
    Squanders its comic capital on redundant bits about her perplexed family and secret society of fellow sex addicts.
  9. The worst kind of avant-garde film, one that hides its lack of commitment to the story, the characters and the genre under cover of being experimental. It mocks form and plays with form but offers nothing in its place, just boredom, emptiness and the oldest metaphor in captivity, about grass coming up through concrete.
  10. Anyone can make a bad movie, but it takes a good filmmaker to make one as bad as I'm Not There.
  11. About as weak a movie as can be made without actively trying.
  12. It plays like a string of cliches linked together to form a movie with not a single moment of surprise or originality.
  13. The film isn't very interesting because it isn't well made.
  14. If you see only one bad movie this year, definitely make it Knowing. The first major disappointment from director Alex Proyas is a disaster movie, a horror picture, a "Da Vinci Code"-style thriller and an end-of-days religious film all at once.
  15. The screenplay is so cognitively impaired that the filmmakers might have been better off hacking up "Fast Times at Ridgemont High," "Dazed and Confused" and "Dude, Where's My Car?" and then sticking together random bits with masking tape. At least that would have made some sense.
  16. The movie lacks the one thing that the classic "Three Musketeers" story can't do without: panache.
    • 68 Metascore
    • 25 Critic Score
    Some long patches in this show are surprisingly boring and unfunny. Maybe part of the problem is that the rest of the world has caught up with Waters -- nowadays everyone's a provocateur. In-your-face gay-themed material is no longer such a novelty; there are simply fewer boundaries left to transgress.
  17. It boggles the mind that after six years of silence, all Tarantino has to offer is this garbage.
  18. For Tim and Eric, what's funny is what's odd, ultra-cheap, pathetic or scurvy - and what's funniest of all is that some people just don't get it.
  19. Filled with overly processed situations it tries to sell with manic energy, "Kranks" is canned, hammy and rolling as fast as it can.
  20. Supposedly he's suffered, supposedly there are demons lurking within, but guess what: This is a movie. If we can't see it, it's not there.
  21. Repressed desire! A sultry soap-opera star! Incest! Gay politics! "La Mujer de Mi Hermano" has it all. Now if it only had a decent plot.
  22. Hollywood hit-making at its efficient, formulaic worst.
  23. There is little debauchery to be had in Laurence Dunmore's adaptation of The Libertine. In fact, hedonism has never looked so bleak.
  24. Numbing.
  25. You can get away with almost anything in a farce except failing to be funny, and that's what kills Death at a Funeral.
  26. Doesn't accomplish its objective.
  27. Director-co-writer Gary McKendry seems to know a thing or two about hard-fisted fight scenes, but he muddies up the visuals with obligatory spasms of shaky-cam.
  28. An unbroken flow of sad or nasty incidents.

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