San Francisco Chronicle's Scores

  • Movies
  • TV
For 8,434 reviews, this publication has graded:
  • 52% higher than the average critic
  • 2% same as the average critic
  • 46% lower than the average critic
On average, this publication grades 2 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Mansfield Park
Lowest review score: 0 Ballistic: Ecks vs. Sever
Score distribution:
8434 movie reviews
  1. As a 110-minute diversion, as a source of some laughs, as an opportunity for two funny guys to be funny — and to be funny with each other — what’s not to like? Just go in not expecting much.
  2. Argentine filmmakers Gastón Duprat and Mariano Cohn (who wrote the film in collaboration with Duprat’s brother, Andrés) direct Official Competition with a sophisticated understanding of its tone, which is essentially realistic and deadpan. The world isn’t crazy, just the people in it.
  3. At 86 minutes, Beavis and Butt-Head Do the Universe feels twice that long. Most of the good laughs are front-loaded in the premise; the rest pop up every 15 or 20 minutes, which isn’t exactly prime Mel Brooks ratio.
  4. The Black Phone has better-than-average acting, an interesting period setting and well-developed characters. But it runs out of story less than halfway through, forcing the filmmakers to repeat the same kinds of actions, over and over, in order to stretch it to feature length.
  5. It’s extraordinary how Luhrmann is able to tell this story honestly, while still making it palatable. It’s equally extraordinary that he can take this short and tragically misdirected life and make it feel like a triumph.
  6. In dramatic terms, Spiderhead is mostly a face-off between Hemsworth’s irresistible force and Teller’s immovable object. It offers the pleasure of watching two actors, just coming into their full powers, going at it full-bore, moment by moment. And each makes the other’s performance better.
  7. By end of Cha Cha Real Smooth, you feel like you’ve met some people, and you liked them all, and it all felt true. For a 24-year-old filmmaker, that’s not bad.
  8. Ultimately, the people who made “Lightyear” bet too much on the appeal of Buzz, when they really needed to be deepening him and transforming him. Buzz is no Woody, and to sustain an entire movie, he pretty much had to be.
  9. The ultimate failure of Jurassic World: Dominion is not only that it relies too much on action, but that the action is lousy.
  10. The movie is so enamored of Walker, and Colter radiates so much charisma and pleasant mischief in the role, that it takes about half the running time to realize that the movie is not delivering on the basics.
  11. Rylance is always good, but director Craig Roberts, to use a golf term, lays up instead of going for the pin. In other words, he plays it safe.
  12. There’s a sweetness at the film’s core that never gets too sickly. The international angle feels right for a league that has never been more worldly. Most of all, there’s Sandler, who finds something very real in Stanley, something beaten down but still hopeful. The actor has reached a point in his career where he can summon gravitas without it feeling like a hustle.
  13. As writer and director, Cronenberg devises for himself a compelling situation, but a situation is not the same as a story. Within 20 minutes, Cronenberg has written himself into a hole, one populated entirely by passive characters who do nothing but get cut up or watch other people get cut up.
  14. Benediction is an awesome combination of wildness and control. Davies is out there all by himself, speaking a cinematic language that is his own and that has little to do with plays or literature.
    • 72 Metascore
    • 50 Critic Score
    Despite the shortcomings, Fire Island is a feel-good, enjoyable comedy and a celebration of queer, Asian American storytelling. Let’s hope its success paves the way for even more subversive films to come.
  15. It moves, makes us care and involves us in the genuine drama of two young people trying to heal themselves. The austere beauty of the locations doesn’t hurt either.
    • 75 Metascore
    • 50 Critic Score
    If they can swallow the intensity of the musical numbers, fans of the show will feel at home with this adaptation, which is just a higher-stakes version of a typical episode (with shadows).
  16. “It’s not what it looks like” is both the marketing tagline for Emergency and an accurate description of this ingenious independent film.
  17. The acting is splendid. Fellowes’ dialogue may not be subtle, but the actors are so familiar and at home in these roles that they make up for whatever is lacking.
  18. Senior Year is a just-OK movie, but it’s a very good Rebel Wilson movie, in that she has been funny in supporting roles, but this is the first time she has excelled as the name above the title.
  19. Panah Panahi, making his feature debut with Hit the Road, definitely inherited his old man’s trouble-making genes. His eye for composition is accomplished, but the movie meanders and the pacing sometimes drags. The problem, of course, is the filmmaker holds back the relevant information that would keep a viewer engaged until the end.
  20. If you haven’t been to the movies in a while, Top Gun: Maverick is a way to get back in. It’s pretty much what “going to the movies” is all about.
    • 77 Metascore
    • 100 Critic Score
    Rather than simply reveling in nostalgia, “Vinyl Nation” becomes a forward-looking story about connections: between artist, tradesperson, retailer and listener. And also between families, friends and strangers.
  21. Hatching has the quality of a fable, and like the best fables, it has meanings that reverberate well beyond its story.
  22. Still, despite Olsen and the appealing breeziness of Cumberbatch, Doctor Strange in the Multiverse of Madness is what it is, a superhero extravaganza with too many fight scenes. But director Sam Raimi doesn’t overplay them, and the creative visuals keep them from becoming monotonous.
  23. Neeson also does a good job tracing his character’s cognitive deterioration over the course of the movie. As such, Memory is like a hybrid, mixing serious sections with Neeson’s usual action stuff. Call it a little bit of this and a little bit of that, or not enough of this and not enough of that.
  24. Ultimately, The Duke tells an enjoyable real-life story.
  25. As a Nicolas Cage movie — not just as a movie, but as a vehicle for what a specific actor can do onscreen — this is the most interesting thing Cage has done since “Face/Off.”
  26. If anything, the fun character dynamics laid out in the first two acts make it all the more disappointing when the final third tips over into noisy excess. But on balance, this ends up being a small complaint.
  27. Petite Maman immerses the viewer in all the things you might have forgotten about childhood — what’s funny to a child, what’s valued, what’s priceless, what will be remembered and valued in years to come. Just watching the almost-identical Sanz sisters play and interact becomes fascinating, like witnessing from the outside some lovely and enclosed world.

Top Trailers