San Francisco Examiner's Scores

  • Movies
For 764 reviews, this publication has graded:
  • 49% higher than the average critic
  • 4% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 2.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Gimme Shelter (re-release)
Lowest review score: 0 Whipped
Score distribution:
764 movie reviews
  1. Priceless enough to flush "Metro," "Dr. Dolittle" and "Holy Man" from memory.
  2. One of Lee's unsung gifts as a filmmaker is his discovery of that place between eye-popping surrealism and wrenching Greek tragedy.
    • 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.
  3. Eastwood is perfect as the bad guy (a thief) you root for.
  4. A featherweight parlor-room French farce in need of an anchor to keep it from being blown away by the summer blockbuster gales.
  5. Mangold's vision is bold. There is nothing cutesy or gimmicky about Heavy, which may be why something in its grimness recalls the work of Ingmar Bergman.
  6. The finest element in de la Pena's carefully assembled account is how she doesn't simply state the obvious, but lets the meaty facts speak for themselves.
    • San Francisco Examiner
  7. But then, just when it appears the race is lost, Steve James' love for his character and art form kicks in and wins the day, and, though flawed, Prefontaine is an engrossing portrait of a complex figure.
  8. Less ambitious than the highly successful "Secrets & Lies," Career Girls has its own modest merits - a real sense of wit, much of it expressed in Hannah's sharp verbal sallies, and a melancholy truth that both women realize.
    • 61 Metascore
    • 75 Critic Score
    The Wachowski brothers are to be applauded for a film that is also nearly as stylishly funny as it is sexy and fast-paced.
  9. Aspires to the boundlessness of a kid's imagination.
  10. The ballad as it turns out is a duet between a dad and his girl, who'd often rather accentuate the positive than exploit pain, quietly proving that she is her father's daughter.
    • San Francisco Examiner
  11. There's an unstable genius brewing beneath Mary Katherine's scarlet headband. As "SNL" women go, only Gilda Radner seemed as willing to rib so much of herself for our pleasure.
  12. As formulaic, but occasionally outré multiplex-bound behemoths go, Gladiator is a foaming beast.
  13. Ransom is every bit as taut and expertly directed, and it's another in the emergency genre, one in which Howard excels.
  14. Perhaps a bit miscast, and with a penchant for too many double-takes, Perry nonetheless is game.
  15. It is an important work, and a very good one.
  16. While I was watching "Lone Star," I realized that what makes Sayles a good and socially responsible person - his ability to look at one thing a hundred different ways - is exactly what makes him a muddy filmmaker.
  17. Quiet, moving and beautifully shot.
  18. You find yourself absorbed in simply looking at them to the extent that it's hard to hear what they're saying. It's a nice dilemma for a movie to present.
  19. An ecstatic sensory experience so overloaded it hardly matters that the narrative has been placed on a back burner.
  20. Harris, Heche make unholy twosome.
  21. Exists as a seldom represented American time capsule, and it's all good.
  22. Some nice performances and modest laughs highlight this amiable British comedy.
  23. It's as sunny as you would expect a Hanks project to be.
  24. Where Never Been Kissed succeeds is in its unabashed refusal to stoop to choosing sides in the high-school hipness war.
  25. This movie has everything.
  26. The delight of the movie is Keitel, who finally gets to play someone who doesn't look like he's about to mug you.
    • 48 Metascore
    • 75 Critic Score
    Spacek and Walken are pure comic energy.
  27. A film where suspense and exhilaration are incompatible, and a receding plot line is merely the platform for cars to fly through panes of glass.
    • San Francisco Examiner

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