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 2.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 Children of the Revolution
Lowest review score: 0 House on Haunted Hill
Score distribution:
764 movie reviews
  1. A movie that has an odd plot, quirky characters and a real edge, but it's not in-your-face, a re-invention of a genre or a smirky independent. It's different because it's flat-out great.
  2. Unlike so many other movies of literary provenance, it is clear from the start that this one is going to be entertainment, not homework. Lee serves up this sweetmeat without fuss, without the super-seriousness of filmmakers awed by their literary material.
  3. Dern is nothing short of brilliant here.
    • 83 Metascore
    • 100 Critic Score
    • 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.
  4. The scenes with Stalin and his frightened underlings, his giddy yes-men tip-toeing around him, are written and directed by Duncan with a grace, agility and comic deftness one rarely is treated to at the movies these days.
  5. The film's premise is totally implausible yet great performances, directing and script allow us to transcend the concept of believability and enjoy nevertheless.
  6. A remarkable study of the corrosive effects of fear and power on an establishment insider who puts duty above all else.
    • 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.
  7. A documentary with a keen eye, a playful sense of timing and an inquisitive soul.
  8. Part aerobics workout, part self-styled dreamscape, Sense is a hyperactive piece of performance art that begins as the stripped-down dress rehearsal of a garage band and builds into a mighty, exhausting spectacle that shakes as much ass as it kicks. [Review of re-release]
  9. If you know Federico Fellini's "La Dolce Vita," you'll be unable to watch The Great Beauty without thinking about it. This gorgeous Italian movie, like its predecessor, balances pungent satire and a more melancholy mood in portraying the dissolute world of the upper crust in contemporary Rome.
  10. This movie is charming the way so few movies are anymore.
  11. Austin is funny, extremely funny, because he is so ridiculous, and because Myers is a brilliant mimic who, like Martin Short, knows how to do ridiculous.
  12. Mike Leigh's great big, superbly performed homage to the creative process.
  13. The shenanigans have been pared into 84 minutes of transgressive, potty-minded farce, that is often Waters at his most cheerful and most thematically focused.
    • San Francisco Examiner
  14. It's the boys' most immediately gratifying movie: The goods are delivered in a hearse.
    • San Francisco Examiner
  15. Funny and untouched by cynical, ironic bids to be taken seriously.
  16. If there's a granddaddy of breezy situationalism, it's probably Buñuel.
  17. A monumentally graceful union of two extremely dissimilar stars, one inspired cinematographer and an exceptionally patient, curious, independent-minded director.
    • San Francisco Examiner
  18. A grand, old-fashioned movie of spies and Communist repression.
    • San Francisco Examiner
  19. Soberly, deeply effective.
    • San Francisco Examiner
    • 81 Metascore
    • 88 Critic Score
    A 140-minute film masterpiece.
  20. A movie too smart and too urgent to be categorically awful. Clinically insane may be another matter altogether.
    • San Francisco Examiner
  21. If nothing else, The Filth and the Fury is a searing, forceful, entertainingly biased reminder only that the English group mattered - as musicians and as anti-social curs.
  22. Classic in feel and loaded with sumptuous performances.
  23. No-fat filmmaking aided by Berri's muscular formalism that, here, occasionally assumes the gritty focus of a taut, action thriller.
  24. A warm-hearted valentine to old traditions in China that are being obliterated by modern - and admittedly more efficient - technology.
    • 74 Metascore
    • 88 Critic Score
    Tucci and Holm brilliant as magazine writer and artist.
  25. Segues from the merely quirky into the bizarrely unthinkable.

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