San Francisco Examiner's Scores

  • Movies
For 799 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 3.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 60
Highest review score: 100 Being John Malkovich
Lowest review score: 0 Mission to Mars
Score distribution:
799 movie reviews
    • 61 Metascore
    • 75 Critic Score
    A hip, corrosive and often hilarious entertainment, the movie strikes another blow for the American independent film.
  1. An enervated adaptation of E.B. White's Stuart Little escapades.
  2. Dreamy and elegantly filmed.
  3. No-fat filmmaking aided by Berri's muscular formalism that, here, occasionally assumes the gritty focus of a taut, action thriller.
  4. Here he has Whoopi Goldberg, Mary-Louise Parker, Drew Barrymore and James Remar to distract us from the depths to which Ross habitually stoops in the never-ending quest to reacquaint an audience with its cheapest emotions.
    • 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.
  5. A harmeless concoction.
  6. A grand, old-fashioned movie of spies and Communist repression.
    • San Francisco Examiner
  7. Kaizo Hayashi's homage to noir B movies, both Japanese and American, is successful as a true labor of love.
  8. As innocuous as the love songs on its soundtrack.
  9. This splatter film is set in Norway, but rest assured, it sticks with the formula. The young people to be killed off are just as obnoxious as their counterparts in American gorefests.
  10. It's the most liberated and alive [DeNiro]'s been since his deluded Rupert Pupkin tried to kidnap Jerry Lewis in "King of Comedy."
  11. Ransom is every bit as taut and expertly directed, and it's another in the emergency genre, one in which Howard excels.
    • 60 Metascore
    • 50 Critic Score
    Call it "Rosemary's Nephew." Or, simply call The Devil's Advocate a muddled metaphysical thriller that takes a small eternity to engage the observer with its flimsy characters and its tired special effects.
  12. Shelton has a talent for using the specific to illustrate the universal. Avowed baseball haters loved "Bull Durham." And if watching golf sounds like an excellent insomnia cure, you will probably still enjoy Tin Cup.
  13. Funny and untouched by cynical, ironic bids to be taken seriously.
    • 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.
  14. Turturro tricks you into thinking there's magic realism streaming through this ode to art and commited love - despite there being little magic and not a trace of reality to speak of.
  15. Sandra Goldbacher, writing and directing her first feature, is a sure-handed filmmaker. The movie is a tableau of sensuality.
  16. Tyler is a find for a director like Bertolucci. She is a blank slate of prettiness with her unadulterated, thoroughbred, long-limbed looks.
  17. Where Never Been Kissed succeeds is in its unabashed refusal to stoop to choosing sides in the high-school hipness war.
  18. Writer-director Mark Herman seems genuinely moved by the plight of the mining communities, but his attempt to translate those feelings into a story shows the effects of hard labor.
    • 60 Metascore
    • 75 Critic Score
    In the movie, the truth will (and does) out itself. Mulder and Scully have seen the future and it's a giant leap for each of them to comprehend.
  19. A filmmaker of Jordan's capability is not likely to make anything less than a competent, watchable movie, and that Michael Collins is. I think content rather than form detracts from the cogency of the finished product in this case.
  20. The artificiality peculiar to moviemaking rubs up counter-productively against the artificiality peculiar to live theater, making the movie version of Gray's material seem arch, contrived and starchy, not the spontaneous eruption that his theater work manages to resemble.
  21. The emphasis is on comedic interaction, not plot - too bad, "48 HRS" had both - but the pair adds spice to the predictable opposites-detract gags.
  22. An enthralling special-effects tour de force with a lover's nook.
  23. The considerable appeal of this movie has to do with its roots in those nice, comforting love stories of the 1930s.
  24. Woo delivers a vintage breakneck, break-arm, break-face 20-minute finale.
  25. As involved as Crudup and Connelly beseech you to be with this story, their very youthfulness, their nagging lack of adulthood, keeps the film from being anything more credible than a tight grad-school tryst.

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