San Francisco Chronicle's Scores

  • Movies
  • TV
For 6,265 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 0.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Bright Star
Lowest review score: 0 The Transporter
Score distribution:
6265 movie reviews
  1. Up
    Has some great movie moments but also boring stretches.
  2. Robert Redford's exceptionally handsome and provocative Quiz Show manages a trick that few films even dare try -- to take a hard look at personal and public moral issues and still provide dazzling entertainment.
  3. Anomalisa may simply be a brilliant one-off, but it’s pointing a new direction for animation, if anyone cares to follow it.
  4. Jacob Bernstein’s documentary about his mother, Nora Ephron, is unbearably funny for much of the way, and then it is sad, but bearably so because Everything Is Copy is about one woman’s realization that some things in life are more than material for her writing.
  5. The most entertaining movie of the year. Funny and action-packed, it's also got that rare thing, heart.
  6. This is a remarkable feat, not only of cinematography, but of choreography. Just to film Michael Keaton and Edward Norton walking down a Manhattan street, everything had to be timed as in a dance — when the camera swirls ahead, when it goes behind, when it swoops back around. It’s all accomplished so smoothly that it would be worth doing merely as a stunt, except this is no stunt. This method carries the mood and soul of one of the best movies of 2014.
  7. The film, winsome and tragic at once and finely attuned to the rhythms of childhood, always seems quite close to real life.
  8. Life Is Sweet, a comedy with wonderfully touching moments by off-beat British director Mike Leigh, is an absolute gem of eccentric humor about family life. Fresh and quirky, the film dishes up astonishing vitality in its look at what is ostensibly a plain, lower middle-class family in Middlesex. [22 Nov. 1991, p.C5]
    • San Francisco Chronicle
  9. For all the squalor and extremely upsetting subject matter, you can't take your eyes off the screen.
  10. Meticulously crafted, and warmly acted by a cast that includes Winona Ryder as Jo and Susan Sarandon as her mother, the devoted Marmee, Little Women is one of the rare Hollywood studio films that invites your attention, slowly and elegantly, rather than propelling your interest with effects and easy manipulation.
  11. Anyone not romantically inclined going into Shakespeare in Love surely will be by the end.
  12. This is a vision of hell conveyed in a simple, documentary style, far removed from the sumptuous American Mafia fables.
  13. Gets its punch from simple scenes and conversations.
  14. It may be as emotionally exhausting for the viewer as for the participants.
  15. The magic of Brooklyn can’t be analyzed, but something in the richness of its relationships puts an essential truth before us — the brevity and immensity of life. We know all about that, of course, but that’s the beauty of great art: It takes what you already know and makes you feel it.
  16. It's a film of sensitivity, observation and humor - a must-see for Fellini enthusiasts and a worthwhile investment for everyone else.
  17. Both as writer and director, Farhadi is skilled at depicting the spiraling growth of social malignancies, as duplicity and uncertainties beget confusion, fear and anger. It’s an incisive portrait of a particular society, but it should resonate everywhere.
  18. Unlike other recent films noirs -- ''The Grifters,'' for example, or ''After Dark, My Sweet,'' both of which were based on Thompson stories -- One False Move lacks style and wit, and doesn't explore its characters beyond their cheap, cruddy exteriors. [24 June 1992, p.E1]
    • San Francisco Chronicle
  19. Despite the increase in seriousness, the film's mood is buoyant, as it's impossible not to root for these appealing if flawed youngsters.
  20. Very imaginative and can be enjoyed by audiences of all ages.
  21. It is not a pleasure to sit through, not even remotely, not even by some stretched definition of the word “pleasure.” It’s work, but it’s ultimately rewarding work. It tackles some truths that other movies wouldn’t touch, not even with a stick and thick gloves.
  22. There's no music to tell you what to think. It's just three good actors and one director's merciless powers of observation.
  23. 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.
  24. A revelatory independent film whose moments of incredible sadness are offset by the same state of grace that blesses its astonishing title character.
  25. Accomplishes the near impossible, bringing a fresh perspective to a horrific subject.
  26. Masterful documentary.
  27. 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).
  28. 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.
  29. 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.

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