San Francisco Examiner's Scores
- Movies
For 760 reviews, this publication has graded:
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49% higher than the average critic
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4% same as the average critic
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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: |
Critic Score
100
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|---|---|
| Lowest review score: |
Critic Score
0
|
Score distribution:
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Positive: 421 out of 760
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Mixed: 201 out of 760
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Negative: 138 out of 760
760
movie reviews
- By critic score
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Reviewed by
Wesley Morris 100
Turns into something like a screwball farce, an intimate, self-aware one. -
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Reviewed by
G. Allen Johnson 100
Ruiz has made the most ambitious adaptation of a Proust work yet. -
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Reviewed by
Walter Addiego 100
Timeless, and as fine a depiction of human folly as you're likely to see at the movies. -
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Reviewed by
Wesley Morris 100
Makes a term like neo-noir seem like a fatuous catch phrase. -
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Reviewed by
G. Allen Johnson 100
Kiarostami's genius is elusive. His films may be unknowable, but they are undeniably hypnotic, charismatic. -
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Reviewed by
Wesley Morris 100
Meanders around Holly Springs, Mississippi, with the fuzzy benevolence of a Hallmark Hall of Fame presentation. -
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Critic Score 100
One of the most complex and powerful literary scripts in recent times. -
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Reviewed by
Walter Addiego 100
This is a nearly miraculous conjunction of director, material and actor. -
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Reviewed by
Barbara Shulgasser 100
Big Night's beauty is the fact that it is about passion. -
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Reviewed by
Wesley Morris 100
With Election, Payne announces himself as one of the keenest purveyors of the scattered pieces that once was an American morality. -
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Reviewed by
G. Allen Johnson 100
Kurosawa pulled out all the stops with Ran, his obsession with loyalty and his love of expressionistic film techniques allowed to roam freely. -
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Reviewed by
G. Allen Johnson 100
A sweaty-browed exercise in precision filmmaking, but one that doesn't cheat you with wisps of tension and the pretense of attitude. -
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Reviewed by
Wesley Morris 100
A momentously, shockingly moving fit of shape-shifting by a filmmaker grown tired of the macabre. -
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Reviewed by
Wesley Morris 100
So phenomenal that Bill Murray can't even steal it. And he tries. So excellent that Murray's MTV progeny Tom Green can't sink it. -
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Reviewed by
G. Allen Johnson 100
Minghella is an artist and he has painted himself a masterpiece. -
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Reviewed by
Barbara Shulgasser 100
A handbook on cinematic lucidity. All events are described clearly. Motives of all the characters are set right there on the table next to the pasta for our consideration. -
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Reviewed by
Wesley Morris 100
It's that rare movie with a sense of timeliness that is eternal, and a protagonist whose soul-crushed angst, even at its most fatal, speaks to the little boy/girl lost in everyone. -
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Reviewed by
G. Allen Johnson 100
The effect is riveting and frightening. You feel you are under siege with the combatants. -
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Reviewed by
Barbara Shulgasser 100
The film will intoxicate children and charm the parents in their company. -
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Reviewed by
Wesley Morris 100
It's the film we leave most movie theaters wishing we'd seen instead. -
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Reviewed by
G. Allen Johnson 100
This movie has everything but Humphrey Bogart, and I'm sure he's sorry he was unavailable. -
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Reviewed by
Wesley Morris 100
It's a glimmering hunk of fractured brilliance riddled with Orwellian paranoia encased in a production design seemingly pieced together from the shared dreams of Franz Kakfa and Salvador Dali, and shot from cruelly low angles. -
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Critic Score 100
A marvelous child of Star Wars technology, the advanced sound design makes a celebratory re-viewing of George Lucas' legendary, 20-year-old space opera a thrilling experience. [Special Edition] -
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Reviewed by
Barbara Shulgasser 100
With no frills and no commentary, Howard and company have made the kind of absorbing thriller we have in mind when we wistfully sigh, "They don't make movies like they used to." -
