San Francisco Chronicle's Scores

  • Movies
  • TV
For 5,857 reviews, this publication has graded:
  • 53% higher than the average critic
  • 2% same as the average critic
  • 45% lower than the average critic
On average, this publication grades 0 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Sex, Lies, and Videotape
Lowest review score: 0 Love Object
Score distribution:
5,857 movie reviews
  1. Doesn't hit its stride until the last 30 minutes, and by then, it's just a little too late.
  2. 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.
  3. More than the standard, cranked-out genre piece. Its characters linger in your mind, and the quality of its actors lift the movie into another league. [14 April 1989]
    • San Francisco Chronicle
  4. This is an amazing record of a group of lives -- and probably more resonant than anyone could have imagined when the project began.
  5. All the actors are good, but it's Farnsworth's brilliantly simple performance that brings The Straight Story so close to greatness.
  6. With its dry, throwaway humor and constant stream of chuckles, it creates its own category of stealth comedy.
  7. Ages well in memory because it gradually seems to mean more. Its meaning can't be summed up in a sentence, but it has to do with a view of life as inexpressibly sad and yet always right.
  8. Like her (Cholodenko) other movies, this one has vivid characters and strong performances and flows like a slice of life set in an appealing, interesting world. But this one also has a good story and, if you're paying attention, a distinct point of view.
  9. There may not be a better- acted film this year.
  10. A little abhorrent yet strangely appealing. I found it arty and pretentious, but still couldn't turn my eyes away from its almost hypnotic coolness and fascinating psychological horrors. [23 Sept 1988]
    • San Francisco Chronicle
  11. Art history lessons don't get much better: Cave of Forgotten Dreams presents the world's oldest paintings captured by one of film's great visionaries.
  12. When it's over, this documentary lingers as a testament to extraordinary human bravery. It stands as one of the most heartbreaking and suspenseful sagas of the year.
  13. A famous French actor using his art to work through the loss of his wife and daughter in a car accident. The strategy works, at least for a while.
  14. A lot of actors are labeled "brave" for taking on difficult scripts like this, but Spacek is the real thing: an artist first, without vanity, and a movie star almost by default.
  15. Ten
    A minimalist film, Ten looks and feels like a documentary. At the end, there is no big denouement, but a profound realization that the people we see on camera are all aching for answers -- and struggling to come to terms with their lives.
  16. The movie examines the possibility of maintaining one's humanity in a truly oppressive society.
  17. This is a beautiful film, full of gray-and white-haired men who grow in stature before our eyes.
  18. A lively experience.
  19. A visually spectacular film, distinguished by strong performances and brilliant Steadicam photography that snakes through the U-boat as its patrols the North Atlantic during World War II. [Director's Cut]
  20. The spellbinding power of this almost certain Oscar nominee for best documentary comes from its chilling subject matter.
    • 86 Metascore
    • 75 Critic Score
    I just don't know how all this sweetness and light will go down with a teenaged movie audience presumably gung-ho with Rambo - especially now that he's got the presidential seal of approval. And that's no joke, son! [3 July 1985, p.58]
    • San Francisco Chronicle
    • 86 Metascore
    • 100 Critic Score
    I'll go ahead and call Drug War the best Hong Kong action movie since "Infernal Affairs" (the 2002 film that Martin Scorsese remade as "The Departed"), even though technically it's a Chinese film.
  21. The main source of astonishment is the precision exhibited everywhere, from the slyly vintage look of Rodrigo Prieto's cinematography to the gradual, cinching tension in Chris Terrio's careful screenplay.
    • 86 Metascore
    • 100 Critic Score
    [Frears] has not only captured the bleak qualities of the old film noir melodramas but supplied an undercurrent that is as sly as it is unsettling. [25 Jan 1991]
    • San Francisco Chronicle
  22. This is Rampling's film, and she's never less than surprising, never less than a revelation.
  23. Explosive entertainment, with the tension and volatility of its subject matter.
  24. This is Almodovar's stab at serious drama, and the result is bizarre and affecting but also unsettling in ways that the filmmaker may not have intended.
  25. If it were just a middling effort, The Master would be a lot less frustrating. But the latest from writer-director Paul Thomas Anderson has greatness in it - two extraordinary performances, intuitive and revealing photography and scene setting, and a distinct directorial sensibility that hovers between sobriety and satire. Yet all those virtues are undermined by a narrative that goes all but dead for the last hour.
  26. Ambitious and brilliant.
  27. The script and direction are virtually flawless.

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