San Francisco Examiner's Scores

  • Movies
For 768 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 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Night of the Living Dead
Lowest review score: 0 Men Cry Bullets
Score distribution:
768 movie reviews
    • 43 Metascore
    • 50 Critic Score
    You can draw a straight line from "Reservoir Dogs" to "Pulp Fiction" to Suicide Kings.
  1. A laughably disconnected hostage drama that rails against the perceived nightmare of inner-city public schools.
  2. A weakly performed rehash of master-slave role-reversal tales.
    • San Francisco Examiner
    • 43 Metascore
    • 50 Critic Score
    A piece of baseball fluff...Costner cinema, pure and simple.
    • San Francisco Examiner
  3. You feel the full weight of the movie's three hours, since the filmmakers only had 90 minutes' of plot.
  4. 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.
  5. Reinforcing the chasm between movie magic and wishful thinking.
    • San Francisco Examiner
  6. 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.
  7. A counterfeit of a Woo movie, even though Woo himself co-produced it.
  8. The absence of substance, or its banishment, and the director's reliance on allure (in the film's casting and in its look and sound, which features haunting music by Beethoven and Chopin), leave Innocence with the quasi-profound, giggly overreach of a magazine layout come to shameless, shallow life.
  9. This is middling Woody, at best: For every funny line or sequence, there's at least one misfire.
  10. 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.
  11. Often grating in its presentation.
  12. Not the sweaty midnight stroll through the garden of carnal delights that its title wants you to believe.
  13. As always, Duvall is magnificent. Even in this small part, he manages to give one of the most stirring performances in the movie.
  14. This is a piece of gloriously literary and serious filmmaking, but again it falls prey to misjudgments in pacing and rhythm.
  15. More altruistic would be if Williams stopped torturing us with weepy endearments so he could look for that complex clown who used to mug just for laughs.
  16. This Paramount-DreamWorks collaboration, with Stephen Spielberg credited as executive producer, is competently made, strongly focused on its characters' relationships and surprisingly light on special effects.
  17. 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
  18. It's a movie drenched in narcissism and wish-fulfillment, almost a textbook on how to make a formulaic, romantic film.
  19. Too much of nothing and far from the potentially star-making material that Foxx deserves.
    • San Francisco Examiner
    • 39 Metascore
    • 50 Critic Score
    Watching movies like this strain to fit new technologies like VR into old genres and plot conventions, you can't help wondering whether the real artificial intelligence experiment these days isn't Hollywood itself. Plug the psychological profiles of 200 hit movies into its hive-mind, and out comes one plastic-bodied, loop-brained clone after another.
    • 39 Metascore
    • 50 Critic Score
    A movie that barely lives.
  20. These pictures need a light touch and a lot of attitude, but this time you can hear heavy breathing in the background.
  21. The best movie she ever directed was "This Is My Life," a biting comedy she also wrote that was soundly defeated by both critics and audiences. I think she's lost her nerve and her edge ever since.
  22. Little Nicky is but a meek gross-out cousin of "The Waterboy."
  23. The best and worst of old school -- retro but stale. Frankenheimer, along with Ben Affleck, donates what cool there is.
  24. Tired comedy.
    • San Francisco Examiner
  25. It's often a lapsed, under-informed documentary with restagings.
  26. 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.

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