San Francisco Examiner's Scores

  • Movies
For 764 reviews, this publication has graded:
  • 49% higher than the average critic
  • 4% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 2.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 The English Patient
Lowest review score: 0 Halloween H20: 20 Years Later
Score distribution:
764 movie reviews
    • 83 Metascore
    • 75 Critic Score
    A Little Princess is a delightful film. Bring your children, or just bring yourself.
    • 75 Metascore
    • 75 Critic Score
    The Spanish filmmaker goes back to what he does better than any other living director - post-modernizing the melodrama.
    • 51 Metascore
    • 75 Critic Score
    Forceful and well-acted. Fear truly lives up to its title.
    • 54 Metascore
    • 75 Critic Score
    Still, Singleton's willingness to take risks makes this a worthy, thoughtful film. Especially noteworthy: His sensitive handling of a love triangle between Kristen and her boyfriend and Kristen and another woman.
  1. This is grim material, but director Hilary Brougher -- working from her own script that won a Sundance award -- examines the lives of these two suffering women without sensationalism or preaching.
  2. Huston manages to bring the unavoidable brutality of this story to the screen without seeming exploitative. And she gets good performances out of Malone, Leigh and Eldard. Glenne Headly gives a great performance as Leigh's saintly sister.
  3. From Juan Ruiz-Anchia's florid, eruptive photography to the pinpoint editing by Howard E. Smith that enhances it, everyone involved with The Corruptor understands that action is the bottom line - except Chow.
    • 62 Metascore
    • 75 Critic Score
    [Krishnamma] gives the story a dimension of pent-up anguish and melancholy.
    • 73 Metascore
    • 75 Critic Score
    An excellent human-interest documentary that unlike so many others has a genuine appeal beyond someone already interested in the subject matter.
  4. Less ambitious than the highly successful "Secrets & Lies," Career Girls has its own modest merits - a real sense of wit, much of it expressed in Hannah's sharp verbal sallies, and a melancholy truth that both women realize.
  5. A tedious, soapy romp about overlapping lives and destiny.
  6. A movie drunk on its very existence, one that misses more frequently than it hits and couldn't care less.
  7. It's handsome filmmaking that doesn't surface until the final 25 minutes during which Stevo and company's sense of marginalization achieves the palpable, emotional import that's more expressive than anything its characters' have to bitch about.
  8. Sometimes, when you watch a Stillman movie, you can't help thinking that the guy ought to get out more.
  9. Any movie that opens with a Goo Goo Dolls song and ends with a line like "I'm going to live -- just not as long as you" is bound to leave somebody reaching for a Kleenex.
    • San Francisco Examiner
  10. The glory of the picture is the eye-popping, surreal backgrounds that blast the conventional characters off the screen.
  11. The movie's primary narrative weakness is that its racism plot points seem ripped from the headlines of a "Geraldo" newsletter and stretched into a string of terribly executed car chases.
  12. What could have been an insightful, irresistible movie is instead a simple, self-contained fable, pleasing to look at but meaningless
    • San Francisco Examiner
  13. Woo delivers a vintage breakneck, break-arm, break-face 20-minute finale.
  14. Leave it to Ron Howard to turn a plaintive Dr. Seuss ditty into a C-grade Tim Burton psychodrama.
    • San Francisco Examiner
  15. This is not the addictive, hot-wired movie you want.
  16. The vibe is acoustic-cafe: cute, catchy and ironic given its wimpy point of view.
  17. A runny intimate portrait that doesn't trust Tammy Faye Messner and her story to enthrall you. So they've all but spelled it out: k-i-t-s-c-h.
    • San Francisco Examiner
    • 67 Metascore
    • 63 Critic Score
    There's a novel, engaging story trying to transmit through the storm of special effects and convoluted plot twists that mar the movie.
  18. If Restaurant feels like a high-caliber TV drama, it's one that tries to pack an entire season (plus pilot, plus backstory) into one episode.
  19. You're smarter than this, but occasionally it tricks you into thinking it might be up to something you haven't considered, like an above-average, extra-bloody episode of "Scooby Doo."
  20. The film is in the key of "Romeo and Juliet," and it's a one-note tune.
  21. As involved as Crudup and Connelly beseech you to be with this story, their very youthfulness, their nagging lack of adulthood, keeps the film from being anything more credible than a tight grad-school tryst.
  22. As entertaining, charming and conceited as other Robert Redford joints, but it's also insufferably obvious.
  23. Roth, though, is like a sociopathic arsonist, one enthralled with his ability to start little blazes and one who would even call the fire department, but wouldn't stick around to see whether anyone put them out.
  24. Simply an endurance contest, one almost worth staying the 82 minutes to see who wins.
  25. Things stay standard-issue French self-analytical from here.
  26. Like a guy who finally gets what he wants, you just want to go home once it's over.
  27. What makes Shadow Boxers special is how Bankowsky restores the woman's touch that always seems intentionally excised from coverage of the sport without comprising their participation in the sport.
  28. An enervated adaptation of E.B. White's Stuart Little escapades.
  29. Szabo doesn't bring the film to its senses until just past the halfway point.
  30. Too smitten with the Eisenhower-era nostalgia.
  31. Really just a lurid potboiler.
  32. Some delightful surprises, but the sort of heavy-metal, high-definition sci-fi look that dominates the proceedings, plus the relentless pace and endless morphing, are somewhat tiring.
    • San Francisco Examiner
  33. An unsteady stab at noir.
  34. It's soft-edged fun that loses direction (or, given the scattershot plot, directions).
  35. Dreamy and elegantly filmed.
  36. A less confrontational, though positively gushing modernization of "Pierre, or the Ambiguities."
  37. The welcome hints at emotional excess are compromised by the blunt force of the movie's political point-making.
  38. Has a silly, insouciant glamour often employed to sell hair conditioners and perfume.
    • San Francisco Examiner
  39. The writer-director has come up with a sumptuous, happy piece of fluff.
  40. Demonstrates that sadomasochistic streak in von Trier that equates the raw with the experimental.
  41. Overstays its welcome until the jokes curdle and the satire becomes a blunt instrument, but not before Busch throws some priceless one-liners.
    • 75 Metascore
    • 63 Critic Score
    Offers insights from a host of former players.
    • San Francisco Examiner
  42. Fans likely to rave about Living.
    • 47 Metascore
    • 63 Critic Score
    It's not easy to wrench belly laughs out of contract killing, but Nine Yards does just that.
  43. An enthralling special-effects tour de force with a lover's nook.
  44. At its savviest, Scream 3 is a cheeky conceptual conceit, cheaply executed for the sake of achieving trilogy status. Instead, it's like a carnival that's been in town a week too long.
    • 32 Metascore
    • 63 Critic Score
    A wicked, light-headed first half dissolves into a bloody, head-bashing second half . The previews make it seem like a comedy. It isn't.
  45. Queasy comedy.
  46. In another universe - though it is difficult to imagine which one - Garry Shandling might be sexy.
  47. Turturro tricks you into thinking there's magic realism streaming through this ode to art and commited love - despite there being little magic and not a trace of reality to speak of.
  48. Crammed with such earnest belief in the power of love - even if it happens in the Chicago Zoo - it almost doesn't matter that O'Connor and Loggia have better chemistry than Duchovny and Driver.
    • 46 Metascore
    • 63 Critic Score
    The cast's control and Dobkin's assured pacing keep most of the funny things funny and make most of the scary things scary - while maintaining the tricky balance between humor and fear.
  49. At its best the film serves as a music appreciation class taught by embattled artists whose cloudy livelihoods grow increasingly uncertain with each bittersweet symphony.
  50. Now "Rod Tidwell," with Jerry Maguire as a supporting character, would be a movie to pay to see.
  51. It's the year's funniest, most absurd sight gag.
    • San Francisco Examiner
  52. Aiming to keep it real, the cast of the new dance casserole Center Stage sweats spunk.
  53. Lindsay Lohan, 12-year-old veteran of commercials and television, is a frighteningly poised child who is truly impressive as the long-separated twins.
    • 57 Metascore
    • 63 Critic Score
    Too many questions are raised with no good answers.
  54. You can see Bobby and Peter Farrelly bent over blowing violently into the sails of this toy boat, trying to get it to move.
    • San Francisco Examiner
    • 64 Metascore
    • 63 Critic Score
    A fun movie, with moments guaranteed to bring you close to tears. But, like most of Robbins' work, it's a cartoon, an emotional cartoon.
    • San Francisco Examiner
    • 23 Metascore
    • 63 Critic Score
    It's a truly strange coupling of mooning romanticism and rank stupidity that fairly screams, "Teenage America, we love your money!"
  55. A supremely silly movie, which means that it has moments of boring idiocy mixed with moments of inspired hilarity.
    • 71 Metascore
    • 63 Critic Score
    Nowhere near as funny as "Spinal Tap," but fans of this kind of deadpan humor are guaranteed to get a few chuckles out of this one. All of the actors are marvelously horrible, and in this movie, bad equals good.
  56. I can't help thinking, though, that maybe Thornton was too ambitious in trying to wear three hats.
  57. Regardless of how cheated out of a full-bodied motion picture you feel, you're still left with the year's sickest bathroom humor.
  58. A proudly unsophisticated demonstration of racial progress.
    • 78 Metascore
    • 63 Critic Score
    Powerful war spectacle neglects novel's heart and much of story.
  59. If you buy the gross, it's surprisingly funny .
    • San Francisco Examiner
  60. Most of American Pimp feels like you've been slipped a Mickey.
    • San Francisco Examiner
  61. Collapses under its own contempt.
    • San Francisco Examiner
  62. Troubling and troubled.
  63. What begins as unassumingly dull wanders into disarming chaos.
    • 68 Metascore
    • 63 Critic Score
    There are plenty of good sight gags here, and anyone who can work the phrase "ass clown" into a script is all right with me.
  64. The director bludgeons us dumb with her genius.
    • 41 Metascore
    • 63 Critic Score
    With more sophisticated writing, one suspects they could really soar: Even here, slowed by clunky, character-establishing lines and an all-devouring plot, they hit more often than they miss.
  65. A mixed bag with the promise of a better sequel.
  66. Works more as an object of pop curiosity than as a work of popular entertainment.
  67. Solondz's greatest success is the pederast, heartbreakingly played by Baker...Had Solondz reached that apex in the other stories, it would have been a masterpiece.
  68. It's full of visual flash, and can be enjoyed as a giddy ride, but you would waste your time trying to puzzle out the nuances of the story.
  69. The movie is meant to be uplifting and to the degree that you can ignore its unquestioning treatment of mental illness, I suppose it is.
  70. Just fascinating in an empty, trendy sort of way
  71. Nicolas Cage gives one of the best performances of his strange, courageous career.
  72. It's one of the most beautifully unpleasant movies ever made - its reverse charge being that it is no fun at all.
  73. A satire whose dead aim stops wounding - and starts making - stereotypes of white middle-classness.
  74. The film is obviously a long-form episode of a show better digested in 22-minute segments.
  75. Of course, there's little else of interest about Pokemon beyond the consumption factor. Buy more.
  76. During this movie, every few moments the theater fills with the appreciative guffaws of 18-year-old young men. How old are you?
  77. It's not as good as the original - which was fresher, funnier and scarier - but if it were, then by the criteria of the film's resident movie scholar, it wouldn't be a genuine sequel.
  78. More about having a good time with some interesting people than it is about watching a fine movie.
  79. Scenes go on and on in endless, witless dialogue, ever accompanied by John Williams' hideously gushing music.
  80. Lacks the spark of the best recent Disney spectaculars, like "Beauty and the Beast."
  81. Fans of sci-fi, special effects, big explosions, panicky crowd scenes and theater sound systems cranked up way beyond the capacity of the human ear to hear comfortably will love this movie. I am not among you.
  82. Cher is an inspired bit of casting, while the talented Dench is underused. Smith seems to be going through the motions as the fatuous and deluded aristocrat, while Tomlin has a ball as Georgie. But what really stays with you is the work by Plowright - she is a beacon of good sense (both as actor and character) and plucky as you please.

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