San Francisco Chronicle's Scores

  • Movies
  • TV
For 6,650 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 0.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Sideways
Lowest review score: 0 UHF
Score distribution:
6650 movie reviews
  1. 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.
  2. 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.
  3. 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.
  4. The movie examines the possibility of maintaining one's humanity in a truly oppressive society.
  5. This is a beautiful film, full of gray-and white-haired men who grow in stature before our eyes.
  6. A lively experience.
  7. 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]
  8. 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.
  9. Nanjiani is engaging throughout, though the scenes of his standup routine are a little confusing. He’s not funny, not even slightly. Is he supposed to be? That’s not clear.
  10. 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
  11. This is Rampling's film, and she's never less than surprising, never less than a revelation.
  12. Explosive entertainment, with the tension and volatility of its subject matter.
  13. 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.
  14. 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.
  15. The movie is a stunner, so hypnotic that the length hardly matters.
  16. Ambitious and brilliant.
  17. The script and direction are virtually flawless.
  18. This is formidable filmmaking, and Heineman has become one of our most daring, and interesting, documentarians.
    • 86 Metascore
    • 75 Critic Score
    Only a director who truly knows repression could have made a movie so subtle and so understanding.
  19. Martin Compston, the young man-child of Sweet Sixteen, had never acted before, but his combination of sweetness and rage -- part puppy, part pit bull -- gives Sweet Sixteen a shot of reality and a big, aching heart.
  20. Remarkable also for the uniform excellence of its cast, and for the pleasure [Altman's] actors take in the wide berth he allows them. [24 Apr 1992]
    • San Francisco Chronicle
  21. Shrewd, highly controlled little film from Belgium that builds to an unexpected emotional climax.
  22. Having hooked us with style, Wright knows he has to deliver on the story, and he does. His plotting is tight and fluid, wild and ultimately satisfying. It’s the ultimate cliche to compare a movie to a thrill ride, but sometimes the cliche applies.
  23. One of Miyazaki's most kid-accessible movies, but still an unnerving film.
  24. An intense and chilling documentary.
  25. Ernest & Celestine builds a delicate and charming animated world, but you wouldn't want to live there.
  26. A wonder of a film -- a luminous, beautifully executed drama that gathers the best cast of the year -- the best American film of the year.

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