San Francisco Examiner's Scores

  • Movies
For 781 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 3.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Star Wars: Episode IV - A New Hope
Lowest review score: 0 Bio-Dome
Score distribution:
781 movie reviews
  1. In the attempt to rein in a cast playing a great assortment of exaggerated types, Schlesinger (who directed "Midnight Cowboy" and "Marathon Man" ) and Bradbury sometimes lose the tone of the movie.
    • 40 Metascore
    • 25 Critic Score
    Muddled futuristic thriller.
    • 75 Metascore
    • 75 Critic Score
    After more than an hour of fun, the film turns dark as Solanas' mental state worsens. Not only does the brilliant kook wear out her welcome with Warhol, but the portrayal also grates on the viewer.
    • 43 Metascore
    • 25 Critic Score
    The movie itself simply misses the mark.
    • 64 Metascore
    • 12 Critic Score
    The entire film rings totally fake and the resulting dishonest sentimentality makes you fidget in your seat and count the seconds until the sweet but completely predictable ending.
    • 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.
  2. Of course, turning a novel by Woolrich into a light romantic froth is a little like turning King Lear into a musical comedy. But Benjamin has the right comic touch to pull this off.
    • 24 Metascore
    • 50 Critic Score
    The movie is decidedly old-fashioned, aiming to send kids and their parents out of the theater feeling good about themselves.
    • 51 Metascore
    • 75 Critic Score
    Forceful and well-acted. Fear truly lives up to its title.
  3. This is the sort of movie that doesn't become irritating even when it's predictable.
  4. The film's premise is totally implausible yet great performances, directing and script allow us to transcend the concept of believability and enjoy nevertheless.
    • 83 Metascore
    • 100 Critic Score
    Todd Solondz's grand prize winner at this year's Sundance Film Festival lapses into satire, but its parodistic slant only exaggerates what is truthful, making the unpleasantness of that awkward age all the more disturbing and hilarious. It's a horror film starring reality in the monster role.
  5. The Coens haven't been this sharp, focused and fluid since their first film. This is "Blood Simple's" promise fulfilled.
  6. While Birdcage has many isolated funny moments, long bits of slowness interrupt the energy.
    • 75 Metascore
    • 75 Critic Score
    The Spanish filmmaker goes back to what he does better than any other living director - post-modernizing the melodrama.
  7. This is filmmaking of high energy and wit. What it adds up to is debatable. You can view it as a bright twist on the being-a-cop-is-lonely sort of police picture, or as a mini-anthology of quirky not-quite-love stories. If it's hard to say where Chungking Express arrives, the trip is still exhilarating.
    • 60 Metascore
    • 63 Critic Score
    The Neon Bible is one of those movies that isn't devoid of art or redeeming features, but nevertheless deserves some kind of warning label: Those suffering from depression or a short attention span should proceed with extreme caution.
    • 39 Metascore
    • 25 Critic Score
    The closest this movie comes to delivering any titillation are a few open-shirted shots of Grammer that display major chest fur. You know you're bored when you have to devise a comparative body hair study to amuse yourself.
    • 61 Metascore
    • 100 Critic Score
    Rumble in the Bronx has the explosive escapades that Stallone/Schwarzenegger followers crave - hair-raising free falls, hovercrafts out of control, crazed turf wars, collapsing buildings, gun-happy gangsters and other boy-film staples - plus the kind of oddball comedy and independent spirit usually found only outside the current Hollywood empire. Chan is a true artist of a genre that ordinarily does all it can to avoid art.
  8. With the exception of a couple of inspired moments, Mary Reilly is merely a curious variation of an often-told story.
    • 65 Metascore
    • 12 Critic Score
    Several times during this film, you wish you were a bottle rocket so you could explode out of your seat and leave this tedious mess behind.
  9. A way-below-par golfing comedy.
  10. Something in Hutton's wounded puppy look always communicates an untapped intelligence or wasted potential, both of which are perfect for this role.
    • 61 Metascore
    • 88 Critic Score
    Broken Arrow isn't the ultimate fusion of Hong Kong surrealism and Hollywood realism, but it points the way to nerve-shattering possibilities.
  11. It just doesn't work.
  12. Spiritually it's a John Woo-George Romero-Jim Thompson picture, outrageously bloody and weird.
    • 1 Metascore
    • 0 Critic Score
    This film may set an all-time record for shortest time between the big screen and your local video store.
  13. Two points save "Lousy 2" from the absolute abyss. One is a couple of imaginative touches in the art design: Cori drives an old Citroen, and a couple of Vespa-like motor scooters are briefly glanced. The other is the performance of Frewer, who played the lead in TV's "Max Headroom." He endows the character with more sardonic humor than we have a right to expect from the junky script by TV-oriented director Farhad Mann.
  14. One of the qualities that makes "12 Monkeys" so good is the fact that it is almost too complicated to explain.
  15. Troubling and troubled.

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