San Francisco Examiner's Scores

  • Movies
For 769 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 Rumble in the Bronx
Lowest review score: 0 Bio-Dome
Score distribution:
769 movie reviews
  1. One of the most self-in-dulgent, muddled, badly written, vague and pointless exercises in filmmaking I have ever had to sit through.
    • 78 Metascore
    • 25 Critic Score
    You may have surmised that Americans have held the copyright on turning out awful movies about serious musicians (especially musicians with physical or mental afflictions), but along comes the high-gloss weepie.
  2. 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.
  3. No amount of excellent period costuming and brilliant set decoration can substitute for a good story and decent acting.
  4. Quickly degenerates into a grueling piece of unpleasantness.
    • 73 Metascore
    • 38 Critic Score
    Trouble is, it's too close-up.
  5. The intention is there, but the needed emotional maturity isn't.
  6. Underscores everything that was utterly wrong-headed about the original material.
  7. The movie is an ill-advised work of egomania by someone who clearly has some talent, but not as much as he seems to think.
  8. Big swirls of computer-generated dirt, a bickering couple and the dead certainty that the fiancee will leave and the bickerers will get back together. An exciting night out, or what?
    • 68 Metascore
    • 38 Critic Score
    The best-looking bad movie in years.
  9. It's too cryptic and unfulfilled to serve as a tool for anything beyond its own obfuscation.
  10. If the idea is to teach us something about the 37th president of the United States, then you would think Stone would resolve to stick to what can be proven about the man's life, or at least indicate when he's speculating. But Stone is the Great Explainer, and facts have an annoying habit of mucking up his explanations.
    • 65 Metascore
    • 12 Critic Score
    Several times during this film, you wish you were a bottle rocket so you could explode out of your seat and leave this tedious mess behind.
    • 65 Metascore
    • 25 Critic Score
    Schnabel can't decide whether he wants to tell a traditional rise-and-fall morality tale or make an art film. His attempt at telling Basquiat's story straightforwardly collapses under its own banality.
    • 65 Metascore
    • 25 Critic Score
    An artificial and hypocritical effort to escape the artistic limitations of teenage slasher flicks.
    • 64 Metascore
    • 12 Critic Score
    The entire film rings totally fake and the resulting dishonest sentimentality makes you fidget in your seat and count the seconds until the sweet but completely predictable ending.
  11. Something in Hutton's wounded puppy look always communicates an untapped intelligence or wasted potential, both of which are perfect for this role.
  12. Most of American Psycho just sits there, looking at trouble, rather than looking for it - complacent, overjoyed in fact to exist at all.
  13. Most of the movie seems stilted and uncomfortably girdled by efforts to work around the cumbersome Brando, who is shot mostly from above the waist, where the full effects of gravity and avoirdupois do not seem so egregious as they do at belt level.
    • 62 Metascore
    • 38 Critic Score
    Just another in a long line of blue-collar-kid-at-prep-school movies, and it may be the worst of the lot. Nothing, absolutely nothing, is original in this movie.
  14. Particularly because unlike so many other boring movies one sees, Jarmusch films require many more words to explain the boringness than less certifiably artistic films would.
    • 61 Metascore
    • 38 Critic Score
    As titillating novelty turns into tired cliche, the dyke-psycho-killer genre may soon burn itself out, but in the meantime, we have the grim Brit art-film variation on the gruesome genre, Butterfly Kiss.
  15. It took four people to write the screenplay for The Relic. All I can say is that I hope these people have not quit their day jobs.
  16. Neeson simply has no spark here. He is good and honest and honorable until your face turns blue. He's just no fun.
  17. The jokes run hot, cold and tepid.
    • San Francisco Examiner
  18. If there is a reason anyone would voluntarily agree to make this movie it probably dwells somewhere in a realm only accessible to the thinking of ambitious actors.
  19. Unsalvageable B-movie junk.
  20. It just doesn't work.
    • 52 Metascore
    • 0 Critic Score
    Unfortunately, the contemporary horror movie has ceased being an individual work full of surprises and fresh manifestations of the Gothic imagination - it has, instead, been reduced to the level of an inflexible, repetitious, ritualistic event.

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