San Francisco Chronicle's Scores

  • Movies
  • TV
For 6,570 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 Celeste and Jesse Forever
Lowest review score: 0 Stigmata
Score distribution:
6570 movie reviews
  1. It would require a near-lethal injection of nitrous oxide to induce laughter.
  2. The role of Kate, a spunky but romantically unfulfilled marketing expert, seems made for Ryan. Unfortunately, Ryan no longer seems made for it.
  3. The show takes little more than an hour to finish and less than a minute to forget, while politely reminding us not only that gay movies have fallen on hard times but also that they refuse to give up.
  4. Has an oddness and whimsicality about it that can, at first, be confused for authenticity.
  5. Self-indulgent and admirable.
  6. That's why the more you like the Judy Garland film, the more you might appreciate Oz the Great and Powerful. Appreciate. Enjoy. Admire. Be glad to see. Have fun with ... But as for love - well, love will be harder to come by.
  7. Like most ruckuses, it is frequently loud and not always intelligible.
  8. It works primarily because of the chemistry between Chan and Tucker, which is at its combustible best this time out.
  9. An inventive and caustic comedy that really does look like the thing it's mocking.
  10. It's a fizzle as as comedy. Still, the film has character.
  11. The specifics of their predicament are well handled -- being thrown in a Third World prison may be every tourist's nightmare -- even if the movie eventually goes soft and squishy.
  12. Summoning silliness Roman Polanski salutes and spoofs satanic thrillers .
  13. Gentle, wacky, down-to-earth and romantic.
  14. It comes down to a pair of appealing performers in a series of bad-relationship skits.
  15. It expertly capitalizes on the emotional associations Americans have with Pearl Harbor and renders the battle scenes with an excellence that goes beyond proficiency and into the realm of art.
  16. Light on inner conflict and heavy on cliches.
  17. By creating likable characters and putting them in situations that seem plausible, if a bit of a stretch, the film succeeds where others of its genre fail.
  18. [Brody's] mannered performance helps downgrade this picture from a middling sci-fi film to a bad, borderline-camp sci-fi film.
  19. This is a slacker comedy with "festival" stamped all over it, so you can bet the consequences will be quirky.
  20. It’s competently made but boring — and desperate.
  21. Carbon Nation serves us a full portion of scary statistics, but overall tries to accentuate the positive.
  22. Lacks compelling narrative.
  23. Let's just say it: It's great there's a movie that makes teenage girls scream. Half the movies Hollywood makes are designed to make teenage boys scream, and those boy movies are just as ridiculous and a lot nastier than New Moon.
  24. Like the best Marx Brothers films, Brain Donors has gags for the sake of gags. There's no pretense to plausibility. It's just layers and layers of jokes; some work, some don't. [18 April 1992, p.C3]
    • San Francisco Chronicle
  25. In the end, what we have here is a Tarzan movie made by people who don’t understand the appeal of Tarzan. He’s about joy and abandon and the fantasy of living in harmony with creation. He’s not about the struggle in the Congo.
  26. In this her third feature as a director, Jolie once again shows a marked talent for the visual aspects of storytelling. Her shot selection is impeccable and her compositions are artful without being self-consciousness.
  27. Stomp the Yard, at nearly two hours, has a decent story, a good subject and a horrible plot.
    • 44 Metascore
    • 50 Critic Score
    A strange and thoughtful little movie.
    • 44 Metascore
    • 0 Critic Score
    Unreconstructed fans of Chevy Chas, Rodney Dangerfield, Ted Knight or Bill Murray might find something to guffaw at in this lamebrained movie that purports to be a satire on country club life but makes everybody look like slobs. Except - perhaps - a little Irish wench named Sarah Holcomb and the gopher who tears up the golf course. Should have put the gopher to work on the script.
  28. Belongs in a less ambitious category of sequels, alongside the creatively lacking “Alvin and the Chipmunks” and “Ice Age” movies.

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