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
  1. But what McNally, director Joe Mantello and a cast brought straight from the original New York stage production all accomplish is the creation of an honest, clever, poignant work about men who also happen to be gay, rather than a self-conscious polemic about gays who it turns out just happen also to be men.
  2. Too much of nothing and far from the potentially star-making material that Foxx deserves.
    • San Francisco Examiner
  3. The talented Murphy is appealing here, performing with sincerity and restraint - a wise choice, since his co-stars are a menagerie of wisecracking animals.
  4. A romantic sitcom that never transcends its gimmicky plot, but offers enough screen time to Gwyneth Paltrow to satisfy even her most rabid fans.
  5. The script, based on British pulp writer James Hadley Chase's novel "Just Another Sucker," is a muddle, and no actors, no matter how compelling or talented, could make its silly dialogue work.
  6. 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.
    • 44 Metascore
    • 50 Critic Score
    With a few quiet, moving scenes and a lovely ending, the film betrays an artist's touch, no matter how hard Kitano tries to make it look easy.
  7. The movie's coda is completely ridiculous and, worse yet, boring.
  8. Implausibly dainty.
    • 48 Metascore
    • 50 Critic Score
    One of those things that probably seems hilarious when a couple of guys are sitting around hashing out the plot over a couple of beers.
  9. Freed from the demands of adapting an established and complex literary piece, the filmmakers seem to have relaxed - and so can their audience.
  10. A frantic, epic-sized blowout of campy, "Indiana Jones" -style derring-do mixed with lots of computer-generated gee-whizzes.
  11. The World Is Not Enough, like a 19th version of anything, is inanely self-parodic. So much so that one wonders why Austin Powers need have bothered in the first place.
  12. Good-looking and empty.
    • 51 Metascore
    • 50 Critic Score
    Unfortunately, all the good parts didn't add up to a great movie.
  13. 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.
  14. It feels like a trumped up trifle, disinterested in narrative exercises, using instead technique (cinematography, editing and, omigod, a soundtrack!) to swing moods and heighten reality, then send it crashing to earth.
  15. The considerable appeal of this movie has to do with its roots in those nice, comforting love stories of the 1930s.
  16. Whatever It Takes is DOA -- dated on arrival.
  17. This is the kind of movie that mistakes heartbreak for being housebroken.
  18. It is a visual tour de force, but as a whole the movie slowly deflates into a cross between "Arizona" and "The Hudsucker Proxy".
  19. When you really think about Breakdown - and believe me, that would probably require spending more time thinking about the movie than the filmmakers did - it doesn't make much sense.
  20. Troisi, who was a star in Italy, hasn't been seen widely in the United States, and from this film it is difficult to be certain how he achieved his fame.
    • 24 Metascore
    • 50 Critic Score
    The movie is decidedly old-fashioned, aiming to send kids and their parents out of the theater feeling good about themselves.
  21. A slew of writers and an enthusiastic cast all do their jobs admirably enough to provide a couple of hours of unembarrassing entertainment.
  22. The dramatic payoff is a bit disappointing; the movie is often overwrought; and its sense of its own importance finally wears you down.
  23. 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.
    • 66 Metascore
    • 50 Critic Score
    It starts out well and winds up no worse than most of the stuff that comes out of Hollywood.
  24. This movie would have had a chance of being interesting had it been about Sally Hemmings.
  25. At some point, the movie itself crosses the line, from a modestly thoughtful attempt to extrapolate a drama from real and urgent events to a generic action piece with predictable good and bad guys and pat, civics-book morals.

Top Trailers