San Francisco Examiner's Scores

  • Movies
For 764 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: 59
Highest review score: 100 Charlie's Angels
Lowest review score: 0 Luminarias
Score distribution:
764 movie reviews
  1. Blakeney can't decide if this is a quirky romantic comedy or a quirky mob essay, and you can see the movie thinking itself into a rhythmless hole with cement shoes.
  2. Leonardo DiCaprio? Excuse me, Leonardo DiCaprio? I know he makes teenaged girls cry, but, I mean, Leonardo DiCaprio?
  3. The thrill is most certainly not in the script by David Koepp, written from Michael Crichton's novel....Most of the writing is the blandest sort of twaddle, jokes you can practically recite along with actors.
    • 65 Metascore
    • 50 Critic Score
    On the one hand, you want to praise it for its stylishness and originality in tackling some fascinating subject matter. On the other hand, it's frustrating because it could have been so much better.
  4. The trouble comes when Woo's patented - that is, oft-repeated - style overwhelms any hope of discerning story or acting through the haze of burning, crashing, bleeding and exploding.
  5. In a sense, Sandler is damned if he develops, damned if he devolves. But he needn't apologize for being who he is by turning a goldmine sitcom into a tame "Baby Boom" for guys.
    • 39 Metascore
    • 50 Critic Score
    A movie that barely lives.
    • 49 Metascore
    • 50 Critic Score
    The Quick and the Dead takes on a more serious tone - as if, even in this loonily amoral environment, we're supposed to care about atrocities. The film builds to a satisfyingly catastrophic climax full of biblical flames and fluttering bank notes, but there's far too much dead time along the way.
  6. You can't help cheering for Selena, but the good feeling is diminished by the sense that her story's been simplified and sanitized.
  7. Though short on subtlety, A Walk on the Moon does offer the consolation of some decent performances.
  8. Besides some fine dogfight sequences, it often feels threadbare, just an exercise in recycling.
  9. A misfire.
  10. Out of Sight needed the energetic and stylish hand of "Get Shorty" director Barry Sonnenfeld. Instead, a sad-sackish Soderbergh ( "sex, lies and videotape") comes at this material looking as if his mind was on something else, something much, much more depressing.
  11. Modestly better than last year's awful "End of Days," though it falls well short of Arnold's "Terminator" peak period.
    • San Francisco Examiner
  12. Nicholson squeezes every wretched drop of buffoonery from this character, and it's distressing to watch him play an easy role for easy laughs.
    • 64 Metascore
    • 50 Critic Score
    The spectacle is huge; the animation, breathtaking. In many ways, it is the epic of biblical proportions the filmmakers hoped for. But, like the Good Book itself, The Prince of Egypt can also be tedious, self-important and at times exhausting.
  13. This is a prodigious something. It's just difficult to say whether that something is good or evil.
    • 61 Metascore
    • 50 Critic Score
    The Faculty deserves a week of detention, not so much for missing the point as for blunting it.
  14. A laughably disconnected hostage drama that rails against the perceived nightmare of inner-city public schools.
  15. I tried to find in Paltrow what all her admirers in numerous magazine articles have reported. I tried to ignore a less than enchanting English accent and a tendency to be wiped off the screen whenever other actors were given much to do.
  16. Director Gary Fleder seems to be trying for the mood and atmosphere of "Seven," another Freeman film about murder and police work, but this movie isn't as stylish and the script by David Klass, based on the James Patterson novel, doesn't really hang together.
  17. By the time you get to the end of the movie and our heroes and Regis' cop buddy Dennis Miller must sprint through a series of tunnels beneath the White House racing against evil to save the presidency, if your credulity hasn't been tested you'll probably find your heart racing pleasantly.
  18. Plays like a lost Rockford file.
  19. What remains is Washington's volcanic and contemplative work at the core of a film packed to the rafters with raging bull.
    • 64 Metascore
    • 50 Critic Score
    It fails to capitalize on its own gifts, coming darn close to greatness but never quite catching the brass ring.
  20. I'm not really sure who would enjoy this movie.
  21. Francis Ford Coppola's Jack has its affecting moments, but in the end illustrates the pitfalls of the "concept" movie, the kind you can boil down to a one-line hook.
  22. At 126 minutes the movie is excruciatingly long, but it is still too short to pack in all the subtle changes in character he means but fails miserably to convey.
  23. There's the world-alteringly scary possibility that (Leder) might be trying to kill us with a star-studded "After School Special."
    • San Francisco Examiner
  24. Lane, with his extensive stage experience, is acerbic, profoundly cynical and endlessly disgruntled. As the foil, Evans strike the right comic nice-guy note; he has fun with the character's sweetness and refuses to degrade him.

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