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 2.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 The English Patient
Lowest review score: 0 Halloween H20: 20 Years Later
Score distribution:
764 movie reviews
  1. With no frills and no commentary, Howard and company have made the kind of absorbing thriller we have in mind when we wistfully sigh, "They don't make movies like they used to."
  2. This is filmmaking of high energy and wit. What it adds up to is debatable. You can view it as a bright twist on the being-a-cop-is-lonely sort of police picture, or as a mini-anthology of quirky not-quite-love stories. If it's hard to say where Chungking Express arrives, the trip is still exhilarating.
  3. Nunez's style is quiet, simple and deliberate, but the film never drags.
  4. Now "Rod Tidwell," with Jerry Maguire as a supporting character, would be a movie to pay to see.
  5. This movie has everything but Humphrey Bogart, and I'm sure he's sorry he was unavailable.
  6. Staggering, gorgeously ambiguous.
  7. Spellbinding.
  8. Funny enough that it could make buddy pictures respectable again.
  9. This is grim material, but director Hilary Brougher -- working from her own script that won a Sundance award -- examines the lives of these two suffering women without sensationalism or preaching.
  10. Less ambitious than the highly successful "Secrets & Lies," Career Girls has its own modest merits - a real sense of wit, much of it expressed in Hannah's sharp verbal sallies, and a melancholy truth that both women realize.
  11. This movie has the jaunty good cheer of another great movie about hit men, "Prizzi's Honor." And that is high praise indeed.
  12. A dashing fusion of the literary and the cinematic.
  13. The majestic pageant of images - no sylvan landscape has been this indelibly, dimensionally alive - is inextricably welded to the multifold spiritual / ecological questions about the future that Miyazaki is contemplating.
  14. There isn't much to recommend this movie until Pacino and De Niro finally share the first of their two scenes together.
  15. It's scant to the point of irrelevance.
  16. Comes on like an "After School Special'' psychodrama that's been taken off its medication.
    • San Francisco Examiner
  17. 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.
  18. It is an important work, and a very good one.
  19. Ethereal.
  20. Sometimes, when you watch a Stillman movie, you can't help thinking that the guy ought to get out more.
  21. Crassly funny passages.
  22. It's that rare movie with a sense of timeliness that is eternal, and a protagonist whose soul-crushed angst, even at its most fatal, speaks to the little boy/girl lost in everyone.
    • 75 Metascore
    • 63 Critic Score
    Offers insights from a host of former players.
    • San Francisco Examiner
  23. The movie hits the ground running, so Beatty the actor is forced to go all out from the start.
  24. Mangold's vision is bold. There is nothing cutesy or gimmicky about Heavy, which may be why something in its grimness recalls the work of Ingmar Bergman.
    • 75 Metascore
    • 75 Critic Score
    The Spanish filmmaker goes back to what he does better than any other living director - post-modernizing the melodrama.
  25. Most disappointing is the fact that the movie ends so abruptly that you can't help wondering what the whole story amounts to, moving as it is.
  26. An alt-country paean to libidinal mothers and the little girls who clean up the mess.
  27. What remains of the book's psychological underpinnings -- there are enough here to leave a permanent dent in the couch of any Freud-loving shrink
    • San Francisco Examiner
  28. Has a silly, insouciant glamour often employed to sell hair conditioners and perfume.
    • San Francisco Examiner

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