San Francisco Examiner's Scores

  • Movies
For 765 reviews, this publication has graded:
  • 50% higher than the average critic
  • 4% same as the average critic
  • 46% lower than the average critic
On average, this publication grades 2.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Apollo 13
Lowest review score: 0 Halloween H20: 20 Years Later
Score distribution:
765 movie reviews
  1. What's pleasing about this movie is its enduring adherence to the Bondian ideal.
  2. The seriousness and simplicity with which he approaches his subject in Night Falls on Manhattan are refreshing even if the vivacity of the thing never really has a chance to develop.
  3. Particularly anticlimactic - the film itself seems sprung from molting yuppie catalogs.
    • San Francisco Examiner
  4. In the case of Jon Robin Baitz's script, adapted from his play, in spite of the fact that he made considerable alterations in the text to open it up to cinematic possibilities, the movie disappoints in much the same way the play did.
  5. Cronenberg has said that he made the film to find out why he was making it. You may watch it for the same reason.
  6. Often grating in its presentation.
  7. A big, silly movie about the famed goatish painter that stars the nearly perfect Anthony Hopkins.
  8. Determined to try your patience, asking you to fall in love with it.
  9. More altruistic would be if Williams stopped torturing us with weepy endearments so he could look for that complex clown who used to mug just for laughs.
  10. While Blanchett glows with intelligence, passion and a quirky kind of beauty, the movie she is in fails her in a number of essential ways.
  11. An arthritic failure, genuine only when the two outcast lovers' eyes dart toward each other, then retreat.
    • 49 Metascore
    • 50 Critic Score
    If you haven't taken your mother to a movie in a while, this is the ticket, with its PG-13 rating, lack of violence and like that.
  12. For all the blathering, heavy-handed pathos, we might as well be watching the Lifetime cable channel.
  13. The adorable overacting of the twins [Mary-Kate and Ashley Olsen] make this otherwise dopey movie watchable.
    • 50 Metascore
    • 50 Critic Score
    French Kiss has only a tenuous hold on reality; it is far more fully steeped in the conventions of latter-day movie romance than in the messy actualities of real-life mating.
  14. Not entirely persuasive, not entirely schmaltzy, "The Tic Code" is one of those well-meant dramatizations... that mysteriously made it all the way to a theater near you.
  15. The comedian's thankful willingness to do anything for Blue Streak...is its redeeming grace.
  16. Director Eastwood favors naturalism and sometimes the effort to reproduce what it is like to meet someone new bogs the picture down irreparably.
  17. This is middling Woody, at best: For every funny line or sequence, there's at least one misfire.
  18. Becky Johnston ( "The Prince of Tides" ) did creditable work on the screenplay, but there are times when this story about a truly rotten fellow seems to be one big jump cut.
  19. A lazy, torpid piece of animated tourism.
  20. A weakly performed rehash of master-slave role-reversal tales.
    • San Francisco Examiner
  21. City of Angels will probably work better for some people than it did for a crusty fellow like me. I feel guilty that I don't like this movie more. I think the devil got the better of me.
  22. This splatter film is set in Norway, but rest assured, it sticks with the formula. The young people to be killed off are just as obnoxious as their counterparts in American gorefests.
  23. When Party Girl isn't being silly, it tries to be endearing and socially redeeming, and to a good degree succeeds.
  24. Leans so heavily on its stars that their performances are marred by their emptiness.
  25. It's often a lapsed, under-informed documentary with restagings.
  26. Between fights, the film can't even rely on the luxury of Lindo, Isaiah Washington, Russell Wong, Rottweiler rapper DMX or the scary Henry O as Han's father to make it watchable - the dialogue is wreaking more havoc than Li.
  27. The movie is an ill-advised work of egomania by someone who clearly has some talent, but not as much as he seems to think.
  28. SORRY, SALLY. I didn't like it. I really didn't like it.
    • San Francisco Examiner
  29. No amount of excellent period costuming and brilliant set decoration can substitute for a good story and decent acting.
  30. Spoof both of P.I.s and independent filmmakers is languidly paced and not very funny.
  31. Big swirls of computer-generated dirt, a bickering couple and the dead certainty that the fiancee will leave and the bickerers will get back together. An exciting night out, or what?
  32. Unfortunately, it stars Keanu Reeves and Cameron Diaz, so it has, more than anything else, a sense of ridiculousness.
  33. Brainless thriller.
  34. In tackling 1000 A.D., (McTiernan)'s suddenly an unwieldy, clunky filmmaker.
    • San Francisco Examiner
  35. If the idea is to teach us something about the 37th president of the United States, then you would think Stone would resolve to stick to what can be proven about the man's life, or at least indicate when he's speculating. But Stone is the Great Explainer, and facts have an annoying habit of mucking up his explanations.
  36. The intention is there, but the needed emotional maturity isn't.
  37. The jokes run hot, cold and tepid.
    • San Francisco Examiner
  38. Too dumb to realize that the senselessness is viral.
    • San Francisco Examiner
    • 61 Metascore
    • 38 Critic Score
    As titillating novelty turns into tired cliche, the dyke-psycho-killer genre may soon burn itself out, but in the meantime, we have the grim Brit art-film variation on the gruesome genre, Butterfly Kiss.
  39. Something in Hutton's wounded puppy look always communicates an untapped intelligence or wasted potential, both of which are perfect for this role.
    • 73 Metascore
    • 38 Critic Score
    Trouble is, it's too close-up.
  40. Stupid.
  41. Second-banana material.
  42. Miserable as it crawls for two eternal hours toward being "life-affirming."
    • San Francisco Examiner
    • 62 Metascore
    • 38 Critic Score
    Just another in a long line of blue-collar-kid-at-prep-school movies, and it may be the worst of the lot. Nothing, absolutely nothing, is original in this movie.
  43. If only it wasn't such bloody nonsense.
  44. Legends of the Fall never makes you think too hard; its woes-of-a-proud-family formula takes a back seat to a self-conscious visual style that strains toward the level of myth.
    • 68 Metascore
    • 38 Critic Score
    The best-looking bad movie in years.
  45. Has no intention of taking a more sophisticated path to make its point.
  46. Wields its Middle America values and moralistic flogging of idiosyncratic lifestyle choices like a flipped bird.
  47. Hush, which is an absurdly bad mixture of "Rosemary's Baby" and any Bette Davis movie from the 1960s, seems to be a classic case of a grasping mother trying to possess her beloved son.
    • 44 Metascore
    • 25 Critic Score
    A scary example of bad movies happening to good people.
    • 65 Metascore
    • 25 Critic Score
    An artificial and hypocritical effort to escape the artistic limitations of teenage slasher flicks.
  48. Moore can't help but be rotten. She has no grace and little nuance, which is why she's always best as a hard-ass in movies.
  49. This is the most-off-the-mark adaptation of a novel since Brian DePalma's what-was-that "Bonfire of the Vanities."
    • San Francisco Examiner
    • 29 Metascore
    • 25 Critic Score
    Lacks genuine magic.
  50. It's a movie so foul even the folks at the NAACP Image Awards would have to look the other way.
    • San Francisco Examiner
    • 33 Metascore
    • 25 Critic Score
    54
    Offers nothing new, and a lot less. It's a hollow shell of a film, rife with plot twists that go nowhere.
  51. It's simply terrible.
  52. There are episodes of "Rugrats" with stronger sexual suspense.
  53. Unfortunately, this movie needed an attractive, irresistibly charismatic performer to give us some reason for watching. Madonna is made up to look like Eva, but this is hardly enough to carry the movie.
  54. Particularly because unlike so many other boring movies one sees, Jarmusch films require many more words to explain the boringness than less certifiably artistic films would.
  55. There are enough mullets to win this movie a Stanley Cup.
    • San Francisco Examiner
  56. While the original conception of The Saint gave us a debonair, sophisticated and roguish detective, the new movie, directed stiffly by Phillip Noyce ( "Clear and Present Danger" ), gives us Val Kilmer as a greedy high-tech daredevil thief with the moves of Batman, the clunky disguises of Tom Cruise in "Mission: Impossible" and the morals of an alley cat.
  57. The movie equivalent of the fruitcake you get every year from the folks back home. It's brick-heavy and full of nasty bits you don't want to put in your mouth, lovingly wrapped in pink cellophane.
  58. It should be renamed "Drop Dead Ghetto" and hauled off to the "Jerry Springer" hall of shame.
  59. It took four people to write the screenplay for The Relic. All I can say is that I hope these people have not quit their day jobs.
    • 46 Metascore
    • 25 Critic Score
    Imagine if "On the Road" ended with Sal and Dean settling down in the 'burbs. Or if the carnal encounters in Henry Miller's "Sexus" were prefaced with admonitions to the reader not to "objectify" women. The Basketball Diaries is a similar travesty: It turns a celebration of outlaw life into a just-say-no cautionary tale that Nancy Reagan would love.
  60. In stupidity, this movie ranks up there among the greats.
  61. Not much of a plot, but the trouble is that Shana Larsen's script, as directed by Risa Bramon Garcia, isn't very deep. Worse, none of the self-absorbed characters are that likable nor are they funny.
  62. A football epic on performance enhancers that may be more flagrantly flawed, more shockingly predictable and just plain cornier than its rickety predecessors.
  63. Quickly degenerates into a grueling piece of unpleasantness.
  64. Dead Man on Campus, a supposed black comedy produced by MTV, is simply awful.
  65. A particularly egregious array of Kodak moments.
  66. So it's hard to know who gets the blame for Payback. I say we cut Mel some slack and put the hex on Helgeland.
  67. A dimwitted, fill-in-the-blanks horror opus that slanders a fine and useful mammal.
    • San Francisco Examiner
  68. The movie is a dismal and misguided special-effects romp featuring two of the deadest performances recorded this year so far.
  69. Unsalvageable B-movie junk.
  70. Things to do in the movie theater until you mercifully die of boredom sums up this witness' response to the ordeal of sitting through this movie.
  71. If there is a reason anyone would voluntarily agree to make this movie it probably dwells somewhere in a realm only accessible to the thinking of ambitious actors.
    • 37 Metascore
    • 25 Critic Score
    An amusement park special, screaming from start to finish with no brakes, no plot and no acting to speak of.
  72. An hour into the picture, Spade offers a pretty funny imitation of belter Neil Diamond, but it's a long 60 minutes for such a pitiful payoff.
  73. This is right up there with the dumbest pictures of the year.
    • 19 Metascore
    • 25 Critic Score
    Korine's trying to offer a radical vision of rotten America, but the whole thing feels warmed over.
  74. Flawless is what happens when a filmmaker has no sense of naturalism, no sense of realism and no real natural sense.
    • 50 Metascore
    • 25 Critic Score
    Half-comedy, half-coming-of-age movie with another half or so of sports film and maybe another quarter of soundtrack that adds up to 175 percent of a bad movie.
  75. What we get are quirky characters who are such cartoons that they undermine the effectiveness of the scare scenes (Brad Dourif's turn as the weird doctor is an example) and well-composed camera angles that mean nothing.
  76. A way-below-par golfing comedy.
  77. Maybe there's a real use for Carrie 2 after all. Stand it up against the original, and you have a pretty good lesson in what's happened to the movies in the last couple of decades.
  78. A wildly dull, predictable script whose holes seem to be courtesy of random sniper fire.
  79. My guess is you'll probably have more fun watching a game at the ballpark than you will at The Fan.
  80. Tedious, unfunny.
  81. Ineptly written and shot like a fashion mag, rings hollow throughout. It's a long, long way from "Jules and Jim."
  82. About a moron - oxy and otherwise.
  83. Clooney's stiff cornball delivery and tendency to smile during the most tragic moments bring this as close to the cartoonish Batman television series of the 1960s as any of the movies have come.
  84. Ideological disaster!
  85. It's a tale of two missused Academy Award winners trying to justify their participation in a moribund, noisome redux of any disposable prison movie you care to remember by lobbing Oscar clips at each other.
  86. I HATE to whine, but if Michael Douglas is half as tired of playing yuppie scum as I am of watching him do it, then he must be napping on a regular basis by now.

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