San Francisco Chronicle's Scores

  • Movies
  • TV
For 6,768 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 0.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Breakdown
Lowest review score: 0 Wild Hogs
Score distribution:
6768 movie reviews
  1. This wonderful romp of a movie looks magical on the big screen: colors are a picnic for the eyes, details loom so clearly you can practically touch them and there's a sense of the larger-than-life with a film that's already larger than life.
  2. In scene after scene -- the long wedding sequence, John Marley's bloody discovery in his bed, Pacino nervously smoothing down his hair before a restaurant massacre, the godfather's collapse in a garden -- Coppola crafted an enduring, undisputed masterpiece. [21 Mar 1997, Daily Datebook, p.C3]
  3. One of the greatest of all epics.
  4. I'm as reluctant to stop writing about this movie as I was to stop watching it: At 166 minutes, it flies by, and you don't want to leave that world. But one thing is certain: This isn't the last word. People will be writing about this film for years - and looking at it to discover the lost history of our time.
  5. Red is the best of the lot: warmer, more accessible, unusually generous toward its characters. A mystical tale of chance encounters and unexpected connections, Red uses a traffic accident as a springboard to discovery.
  6. A masterpiece.
  7. Part fairy tale and part bogeyman thriller -- a juicy allegory of evil, greed and innocence, told with an eerie visual poetry.
    • 99 Metascore
    • 100 Critic Score
    A wonderful parody of the birth of talkies that has great wit, an intelligent script, terrific music and dancing that can't be beat.
  8. Every year, we get only a few of these, movies that come out of nowhere, that are different, unexpected and wonderfully right. Moonlight is that kind of movie, one of the gems of 2016.
  9. Everything Melville shows us, he shows us for a reason, and these reasons are never obscure but are rather pertinent to the action and to the moral movement of the world and the characters.
  10. It turns out that Pepe Le Moko is even better than "Algiers."
  11. Visually stunning, it meshes haunting images with a complex multilevel story about the enchantment of youth.
  12. Though the movie clocks in at just under three hours, it is -- aside from an occasional slow spot -- fascinating and exciting.
  13. Seeing it is a time-bending experience, a way of visiting the past and glimpsing the past's idea of the future. A masterpiece of art direction, the movie has influenced our vision of the future ever since, with its imposing white monoliths and starched facades.
    • 97 Metascore
    • 100 Critic Score
    The anger, the mischief, the humor and the intelligence that flash in Day-Lewis' eyes make Christy Brown the most memorable film figure of the year. The Oscar does not necessarily reflect the pinnacle of success for an actor, but Day-Lewis certainly deserves that honor. [20 Dec 1989, p.E1]
    • San Francisco Chronicle
  14. The most striking effect of the Technicolor process is its subtlety. The viewer is aware of the gradations of flesh tones in Leigh's face and can see the color rise in her cheeks. The exact color of her eyes is a source of fascination (they are gray-blue with flashes of green).
  15. First, this movie should be enjoyed. Later, marveled at. And then, once the excitement has faded, 4 Months, 3 Weeks and 2 Days really should be studied, because director Cristian Mungiu creates scenes unlike any ever filmed.
    • San Francisco Chronicle
    • 97 Metascore
    • 100 Critic Score
    He has very shrewdly interwoven crime, sex and suspense, blended the real and the unreal in fascinating proportions and punctuated his film with several quick, grisly and unnerving surprises.
  16. Superb.
  17. Ran
    In Ran, the horrors of life are transformed by art into beauty. It is finally so moving that the only appropriate response is silence.
  18. 12 Years a Slave has some of the awkwardness and inauthenticity of a foreign-made film about the United States. The dialogue of the Washington, D.C., slave traders sounds as if it were written for "Lord of the Rings." White plantation workers speak in standard redneck cliches. And yet the ways in which this film is true are much more important than the ways it's false.
  19. Affleck is magnificent, but the movie is something less than that, because it can’t completely overcome some built-in challenges.
  20. Ratatouille is a classic.
  21. See Gravity in theaters, because on television something will be lost. Alfonso Cuarón has made a rare film whose mood, soul and profundity is bound up with its images. To see such images diminished would be to see a lesser film, perhaps even a pointless one.
  22. An ungainly masterpiece, but Chaplin's ungainliness is something one can grow fond of.
  23. A lovely, evocative tour de force. So why does it seem we should be enjoying it more?
  24. Walt Disney Pictures' Beauty and the Beast is an enchanting feast of extraordinary animated film making that magically revives the classic Disney style with genial humor, memorable music, fluid grace in its drawings, and compelling romance. [15 Nov 1991, p.C1]
    • San Francisco Chronicle
  25. Haynes elicits two great performances and provides the perfect frame for them, not just in terms of setting, but through smart casting and attention to the smallest of performances.
  26. A gem of fast action, sophisticated wit and inspired comedy.
  27. But make no mistake, whether the movie is fair or horribly unfair - I know nothing of the actual facts and can't make that determination - its portrait of Zuckerberg is a hatchet job of epic and perhaps lasting proportions.

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