San Francisco Chronicle's Scores

  • Movies
  • TV
For 6,575 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 0.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Humpday
Lowest review score: 0 The Dukes of Hazzard
Score distribution:
6575 movie reviews
  1. The actor suffered deeply, and however much he’s responsible for that, it’s hard not to feel some compassion for a bright and sensitive artist who, at least early on, seemed full of life.
  2. A revelatory independent film whose moments of incredible sadness are offset by the same state of grace that blesses its astonishing title character.
  3. Accomplishes the near impossible, bringing a fresh perspective to a horrific subject.
  4. Masterful documentary.
  5. If you can weather some slow patches (and there are plenty), this boldly original, oddly affecting meditation on the afterlife will reward you with moments of profundity that will linger in your consciousness (or subconsciousness) for a lifetime (or lifetimes).
  6. Carries a lot of emotional power.
    • 87 Metascore
    • 75 Critic Score
    If you haven’t seen a Weerasethakul film yet, here’s a good opportunity, but leave your expectations at the door. There’s no one like him.
  7. What it means in practice is that, with a Dardennes movie, nothing much seems to be going on - until everything seems to be going on. We watch events at a remove, and then, at a certain magical point, we are in the story, and we don't quite know how they did it - again.
  8. The epic and impassioned close that the saga deserves, a sweeping Wagnerian finish that's taut with suspense and wet with emotion.
  9. A gripping documentary about the most exacting and expensive scientific experiment ever conducted, and one that may be among the most significant.
  10. An impassioned documentary about a damaged American family, includes moments that seem to cross the line of what is emotionally acceptable to show onscreen.
  11. If you're the type who doesn't go to art-house films , Murderball should be your exception. It's hard to imagine anyone could walk away from this movie disappointed.
  12. It's fascinating stuff, but secondary to Ebert's genuine passion for the movies, which, if anything, grew toward the end of his life. He saw film as a great civilizing force, "a machine that generates empathy," as he says in the film. If that idea appeals to you, see Life Itself.
  13. Delivers a full emotional palette without undue sentimentalizing.
  14. This is the heart-rending true story of a man with a seemingly benign preoccupation that turned into something close to madness and brought him to a terrible end.
  15. No one else makes movies like this Spanish director.
  16. A mesmerizing film that is the most stunning, tempestuous love story in a decade or two of movie making.
  17. Love & Friendship looks splendid. If the costumes by Eimer Ni Mhaoldomhnaigh (“Cavalry”) were any more beautiful, they’d be too beautiful.
  18. Be warned: This is not a movie for a first date. Or a second date. Or perhaps any date.
  19. Ghobadi infuses his movie with a humor that can almost be called Seinfeldian, and it's this mix of laughter with tears that gives Marooned in Iraq its big impact.
    • 86 Metascore
    • 100 Critic Score
    Marks a cinematic milestone.
  20. The experience of watching Daniel Day-Lewis in this role is nothing less than thrilling. This is Lincoln. No need for a time machine, there he is.
  21. Film is often too subtle and languorous for its own purposes: At times, it's close to soporific.
  22. The kind of picture to whip out the clichés for: Surprisingly original. Delightful. Brilliant. Funny as all heck. When 1989 is through, sex, lies, and videotape may well be remembered as the best film of the year. [11 Aug 1989, Daily Datebook, p.E1]
    • San Francisco Chronicle
  23. By the way, The Tillman Story has an R rating because of language. Think about that one, too: Lies are rated G and can be heard around the clock on television, but try saying the truth with the proper force and you end up with a restricted audience.
  24. An authentic piece of Americana. There's no lying or condescending from this director. Nebraska feels pure.
  25. The murder plot is a cheap turn that says nothing about the nature of Suzanne's ambition. Without Suzanne's media-obsession as its focus, To Die For becomes just another fairly good black comedy.
  26. This is an amazing record of a group of lives -- and probably more resonant than anyone could have imagined when the project began.
  27. All the actors are good, but it's Farnsworth's brilliantly simple performance that brings The Straight Story so close to greatness.
  28. With its dry, throwaway humor and constant stream of chuckles, it creates its own category of stealth comedy.

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