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 2.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Welcome to the Dollhouse
Lowest review score: 0 Halloween H20: 20 Years Later
Score distribution:
764 movie reviews
  1. It's a more intelligent and dimensional epic than, say, "Anna and the King." Emperor is worth every single penny.
    • 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.
  2. History rendered with enough brains and imagination to more than make up for its few stumbles.
  3. There isn't a whole lot of fancy subplotting, just a potpourri of funny and engaging characters.
  4. Baumbach is obviously a bright man, but this material is too thin for anything more than a slight New Yorker short story about thoughtful screw-ups.
  5. 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
  6. Huston manages to bring the unavoidable brutality of this story to the screen without seeming exploitative. And she gets good performances out of Malone, Leigh and Eldard. Glenne Headly gives a great performance as Leigh's saintly sister.
  7. One of the qualities that makes "12 Monkeys" so good is the fact that it is almost too complicated to explain.
    • 74 Metascore
    • 88 Critic Score
    Tucci and Holm brilliant as magazine writer and artist.
  8. Martin Scorsese is certainly one of the great living movie directors. Sadly, this does not mean he can't make a mistake. Kundun is a mistake.
  9. No amount of excellent period costuming and brilliant set decoration can substitute for a good story and decent acting.
  10. Broadway-sized performances.
    • San Francisco Examiner
  11. May be the funniest movie about parental and spousal abuse ever made.
    • San Francisco Examiner
    • 74 Metascore
    • 100 Critic Score
    One of the most complex and powerful literary scripts in recent times.
  12. What remains is Washington's volcanic and contemplative work at the core of a film packed to the rafters with raging bull.
  13. An adrenaline-pumping, post-musical musical.
    • San Francisco Examiner
  14. Overall a well-played chess match of a movie.
    • San Francisco Examiner
  15. A sobering documentary.
  16. A warm-hearted valentine to old traditions in China that are being obliterated by modern - and admittedly more efficient - technology.
  17. At its best the film serves as a music appreciation class taught by embattled artists whose cloudy livelihoods grow increasingly uncertain with each bittersweet symphony.
  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's a gas, dude!
  20. It's a testament to what happens when all the right ingredients come together. Wag the Dog is the best political satire in years.
  21. Makes a term like neo-noir seem like a fatuous catch phrase.
  22. Through it all, Ozon supplies a sense of pathos that makes fun of its own soullessness, transforming a self-serious suicide note into an existential love letter.
    • San Francisco Examiner
  23. A featherweight parlor-room French farce in need of an anchor to keep it from being blown away by the summer blockbuster gales.
  24. Quickly degenerates into a grueling piece of unpleasantness.
  25. Softley and Amini say they consciously viewed Kate as a film noir kind of heroine, a beauty leading a good man astray. And that, added to the setting of the second half of the movie in canal-riven Venice, gives the story the kind of moral haziness that verges on Thomas Mann territory.
  26. What begins as unassumingly dull wanders into disarming chaos.
  27. A document of vexing (and vexed) immediacy.

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