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 Sense and Sensibility
Lowest review score: 0 Whipped
Score distribution:
768 movie reviews
    • 100 Metascore
    • 100 Critic Score
    Citizen Kane...has the best of everything: a great director and star, innovative cinematography, dreamlike - even nightmarish - art direction, a sonorous musical score, a skillful screenplay in which comic passages intensify the movie's tragic qualities by means of their grotesque juxtaposition (how lifelike!), a psychological / narrative form that predates our contemporary "psycho-histories" by at least 40 years, and best of all, a memorial word that, when spoken, recalls the film out of thin air.
  1. A handbook on cinematic lucidity. All events are described clearly. Motives of all the characters are set right there on the table next to the pasta for our consideration.
  2. A sweaty-browed exercise in precision filmmaking, but one that doesn't cheat you with wisps of tension and the pretense of attitude.
  3. The sexual tension and humorous byplay between Leigh and co-star Clark Gable, in the role of gentleman rogue Rhett Butler, was riveting. And so was Leigh's portrayal of a viper trying to consume the good-hearted Ashley Wilkes, embodied by the fine-boned Hungarian-turned-British actor, Leslie Howard.
  4. Ran
    Kurosawa pulled out all the stops with Ran, his obsession with loyalty and his love of expressionistic film techniques allowed to roam freely.
    • San Francisco Examiner
  5. The film will intoxicate children and charm the parents in their company.
  6. If there's a granddaddy of breezy situationalism, it's probably Buñuel.
  7. A documentary with a keen eye, a playful sense of timing and an inquisitive soul.
    • 92 Metascore
    • 100 Critic Score
    A marvelous child of Star Wars technology, the advanced sound design makes a celebratory re-viewing of George Lucas' legendary, 20-year-old space opera a thrilling experience. [Special Edition]
  8. Elegant.
  9. Leigh has a gift for demonstrating character from the outside in.
  10. "The Big Sleep" and "The Maltese Falcon" echo loudly throughout.
  11. For all its lazy beauty, the movie is rooted in the personalities of its lead characters and they, unfortunately, are bloodless, affectless, emotionless dopes who turn their considerable lack of scruples on the business of senseless killing, for which they seemingly have no remorse. [13 Feb. 1998]
  12. The effect is riveting and frightening. You feel you are under siege with the combatants.
  13. Mike Leigh's great big, superbly performed homage to the creative process.
  14. It's the film we leave most movie theaters wishing we'd seen instead.
  15. More often than not the film casts an infectious, evocative spell.
    • San Francisco Examiner
  16. A crowd pleaser that caters to our horror of totalitarianism, our love of personal freedom, our belief - justified or deluded - that knowledge is a powerful tool and that access to information is a God-given right.
    • 89 Metascore
    • 75 Critic Score
    The movie is strongest when Lee keeps his eye on the prize: the experiences of ordinary people in an extraordinary time.
  17. 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]
  18. It's a glimmering hunk of fractured brilliance riddled with Orwellian paranoia encased in a production design seemingly pieced together from the shared dreams of Franz Kakfa and Salvador Dali, and shot from cruelly low angles.
  19. Imbued with infectious pluck. It's also a lucid, competent, titanically entertaining movie loaded with workable gags.
  20. Aspires to the boundlessness of a kid's imagination.
    • 87 Metascore
    • 100 Critic Score
    Dead is a movie you want to dismiss as another, gross supernatural B-movie: campy fun. But, shot and edited by Romero himself, the film is an astounding technical knockout, often so expressionist that the daylight seems afraid of the dark. The horror is so unalloyed that dead look decidedly, frighteningly human.
  21. Its brazen mixture of the comic and dramatic, the high and low and the emotional and intellectual is positively Shakespearean.
  22. The movie is meant to be uplifting and to the degree that you can ignore its unquestioning treatment of mental illness, I suppose it is.
  23. Almodovar imbues his Harlequin-novel-meets-Marvel-comic-book melodramas with something more than a wink and a smile, and it's beguiling.
  24. Minghella is an artist and he has painted himself a masterpiece.
  25. Kiarostami's genius is elusive. His films may be unknowable, but they are undeniably hypnotic, charismatic.
    • San Francisco Examiner
  26. Half snappy, sardonic and incisive and half slow-moving, goofy and dense.

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