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 A Family Thing
Lowest review score: 0 Luminarias
Score distribution:
764 movie reviews
  1. I'm not really sure who would enjoy this movie.
  2. 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.
  3. 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.
  4. 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
  5. 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.
  6. Tired comedy.
    • San Francisco Examiner
  7. Except for the casting, it would be difficult to find any substantial difference between this movie and the previous ones, or this movie and any number of high-tech adventure movies of the last decade.
  8. Lee seems to think that all his major characters are basically good people who deserve another chance, and so for the sake of an inappropriate happy ending, everyone important gets one.
  9. As always, Duvall is magnificent. Even in this small part, he manages to give one of the most stirring performances in the movie.
  10. As insulting as taking the queen to the Olive Garden.
  11. Cop Land presents a fairly involved plot, and Mangold is not equipped to do more than blurt all the information onto the screen and let the nuances settle where they may.
  12. An independent film so enamored of itself it refuses to have any fun.
  13. Crime-by numbers-cop drama.
    • San Francisco Examiner
  14. You feel the full weight of the movie's three hours, since the filmmakers only had 90 minutes' of plot.
  15. The movie's afraid of [Stiles], turning Kat from riot grrrrl to Solid Gold dancer in the time it takes to drop one Notorious B.I.G. song at that house party - which is why it's the Spam of processed teen movies.
  16. It's a movie drenched in narcissism and wish-fulfillment, almost a textbook on how to make a formulaic, romantic film.
  17. When the mystery is unraveled and the frame-up is revealed, I, personally, had no idea what anyone was talking about.
  18. Cholodenko's strategy of having the actors, in every scene -- whether it involves Lucy, the boyfriend or the Frame editors -- perform with an intonational flatness approaching monotone pretentiously undermines the effectiveness of her subject matter.
  19. It seems like another misstep - the story just doesn't hold up to Ritchie's treatment.
    • San Francisco Examiner
  20. Frill-less almost to the point of minimalist, teary without being lachrymose, hers is a performance you'd think was great were the movie in a language you didn't understand.
  21. The picture is a relentless blast of color and movement that's based on the old TV show, but boils down to a supercharged version of old-time Saturday-afternoon movie serials.
  22. No-one's-home acting by Bierko and Mol doesn't help, while the talented D'Onofrio ("The End of the World") and Mueller-Stahl (a veteran of European pictures) are better than the material.
  23. A harmeless concoction.
  24. It's hard not to keep thinking that this movie is basically "Yentl" with a nose job.
    • 45 Metascore
    • 50 Critic Score
    Carrey's style is to keep the jokes moving so quickly and with such force that you can hardly stop to consider how stupid they are.
  25. Now and then the script reaches admirable heights of humor.
  26. The real trouble with this movie is that it represents the continuing departure of Almodovar from the chaotic, riotous and anti-social roots that gave his best movies their zest.
  27. It's hard not to like a movie like Men of Honor, but it's entirely possible.
  28. There's more gymnastic yammering in Loving Jezebel than in a season of "Dawson's Creek."
  29. The comedy-drama is worth seeing for Christie's performance as a former B-actress married to a philandering handyman. She radiates a mature sexuality that's a rare treat on screen these days, and when the camera strays from her, you want to reach over and turn it back.

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