San Francisco Chronicle's Scores

  • Movies
  • TV
For 6,578 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 The Names of Love
Lowest review score: 0 Red Planet
Score distribution:
6578 movie reviews
    • 90 Metascore
    • 100 Critic Score
    Ultimately, Collin’s film is one of forgiveness. That’s not the usual way great tragedies end.
  1. One of the best crime dramas to come along in years.
  2. The new material makes the film seem lumpy and overstuffed.
  3. A great achievement: tense and passionate, a film that one feels not just emotionally but also physically.
  4. A great experience, precisely because it's so intimate and unguarded.
  5. Her
    The story is too slender for its two-hour running time, and the pace is lugubrious, as though everyone in front and behind the camera were depressed. But the biggest obstacle is the protagonist (Joaquin Phoenix), who is almost without definition.
  6. Among the great American crime movies, 1973's Badlands stands alone. [13 Feb. 1998]
  7. Egoyan's voice is so clear and loving, his vision so forgiving and his film so intelligent that you come away refreshed.
  8. It not only evocatively captures the Russian spirit and the yearnings of a generation, but it also masterfully chronicles the historic collapse of the Soviet Union and its complex aftermath.
  9. The visuals pop, the fish emote and the ocean comes alive. That's in the first two minutes. After that, they do some really cool stuff.
  10. This Is Not a Film isn't just a film, it's a strong one. It's also an act of political defiance, a moving personal document and a meditation on what film is and can be.
  11. Part of the appeal of Topsy-Turvy is its generosity about human folly and shortcomings. Its wistfulness is very touching.
  12. It's tremendously entertaining, and probably worthy of repeat viewings.
  13. Magnificent but somewhat frustrating movie.
  14. The visual and emotional hues are darker [than previous Pixar films], and the focus rests more on middle age than coming of age. The adventures of a family of superheroes are likely to thrill and amuse children, but the film's more grown-up themes might go over their heads.
  15. If his two previous films suggested a director dipping a few toes in dark waters, Un Prophete marks the moment when Audiard took the plunge.
  16. A sweet but curiously unfulfilling story.
  17. It's a humane and witty treatment of an average life that, incidentally, speaks to the worth and inherent drama of average lives.
    • 90 Metascore
    • 100 Critic Score
    Sad funny and richly romantic, everything that makes Allen’s movies so beloved. [7 February 1986, Daily Notebook p.76]
    • San Francisco Chronicle
  18. A British costume film that's funny but not at all fusty.
  19. This beautifully shot film (kudos to cinematographer Paul Yee) could have easily been an incoherent mess, but Holmer keeps her lyrical movie under control at all times.
  20. There's just nothing artful about it, and it's Greengrass who deserves the credit. These nonactors don't act the way most people do when playing themselves. They act the way people do when they're being themselves.
  21. Yet all this wit and effort and occasional beauty is in the service of a movie that is little more than a two-hour chase scene, one that seems founded on the assumption that if you show one set of people chasing another, that’s enough to get an audience excited: Oh, no, let’s hope they don’t get caught!
  22. An original, inspired piece of work.
  23. A superb documentary.
  24. American Hustle is David O. Russell's best film, one that finds him in that ideal zone of spontaneity and complete control.
    • 90 Metascore
    • 100 Critic Score
    A rare chance to see a major cinematic work on the big screen.
  25. Jarmusch has created a small miracle of a film, one that is both intellectually dazzling and emotionally provocative.
  26. It's striking how much emotion Satrapi is able to convey through blocky drawings.
  27. A delicate, beautifully observed study of impossible romance, Lost in Translation is one of the best films this year.

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