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 Rififi (re-release)
Lowest review score: 0 Luminarias
Score distribution:
764 movie reviews
  1. Boys Don't Cry's intensity sneaks up on you like a snake.
  2. 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.
  3. A satire whose dead aim stops wounding - and starts making - stereotypes of white middle-classness.
  4. I'm not sure all of this works out as convincingly as Anderson intends in the movie's somewhat unsatisfying ending, but getting there is a wickedly enjoyable journey.
  5. The Coens haven't been this sharp, focused and fluid since their first film. This is "Blood Simple's" promise fulfilled.
  6. Out of Sight needed the energetic and stylish hand of "Get Shorty" director Barry Sonnenfeld. Instead, a sad-sackish Soderbergh ( "sex, lies and videotape") comes at this material looking as if his mind was on something else, something much, much more depressing.
  7. Soberly, deeply effective.
    • San Francisco Examiner
  8. In 80 minutes, the film accumulates a staggering gravity.
    • San Francisco Examiner
  9. I can't help thinking, though, that maybe Thornton was too ambitious in trying to wear three hats.
  10. Hysterical-depressing, vividly sobering.
  11. A meticulously assembled dramatization of a grossly controversial moment in TV history.
  12. 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.
    • 83 Metascore
    • 75 Critic Score
    A Little Princess is a delightful film. Bring your children, or just bring yourself.
    • 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.
    • 83 Metascore
    • 100 Critic Score
  13. A film that can be enjoyed by all ages and that insults no one's intelligence.
  14. One of the most self-in-dulgent, muddled, badly written, vague and pointless exercises in filmmaking I have ever had to sit through.
    • 83 Metascore
    • 100 Critic Score
    Extraordinary, entertaining cinema.
  15. With Election, Payne announces himself as one of the keenest purveyors of the scattered pieces that once was an American morality.
  16. Nicolas Cage gives one of the best performances of his strange, courageous career.
  17. The trouble comes when Woo's patented - that is, oft-repeated - style overwhelms any hope of discerning story or acting through the haze of burning, crashing, bleeding and exploding.
  18. The amazing thing about the film, for anyone who hasn't had an intentional Hollywood scare lately, is that it still delivers on the most visceral level
    • San Francisco Examiner
  19. In the attempt to rein in a cast playing a great assortment of exaggerated types, Schlesinger (who directed "Midnight Cowboy" and "Marathon Man" ) and Bradbury sometimes lose the tone of the movie.
  20. A work of strangely bold, distinctly American pop art - proud to be ashamed, ashamed to be proud, unafraid to ignore its commercial bearings.
  21. This movie is charming the way so few movies are anymore.
  22. 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.
  23. Works a familiar mine and produces more than a few nuggets. It's a good tonic, if one's still needed, for '80s-style cynicism: Greed is not good.
  24. Leigh plays the tragic and annoying Sadie as if she loved and hated the character simultaneously. And to the degree that this courageous movie succeeds it will elicit the same feelings in the audience.
  25. Solondz's greatest success is the pederast, heartbreakingly played by Baker...Had Solondz reached that apex in the other stories, it would have been a masterpiece.
  26. An independent film so enamored of itself it refuses to have any fun.

Top Trailers