San Francisco Chronicle's Scores

  • Movies
  • TV
For 7,174 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 1.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Life Is Sweet
Lowest review score: 0 The Dukes of Hazzard
Score distribution:
7174 movie reviews
  1. From a narrative feature, we want drama and illumination, the truths that go beyond the plain facts. That’s where Mary Shelley comes up a bit short. It’s never less than competent and intelligent, and here and there it’s better than that.
  2. A category of films that reward viewers who view the cinemas as an escape, rather than an arena of deep thought. If you’re coming off a super bad week, or have had a few drinks, or just happen to find a crowded theater where laughs are contagious, you’ll have a much better time. If you rent the movie and view it alone, you’ll probably laugh three times, and never watch it again.
  3. Hypnotic and intense throughout, the brilliantly executed Hereditary taps into the ghosts within all of us — the insidious roots of family dysfunction — and turn them upside down and all around. It’s an audacious supernatural thriller where the psychological fallout is just as disturbing as the apparitions that come chillingly to life.
  4. Woodley has been first-rate in everything she’s been in, particularly the “Divergent” series. But there’s something about her performance here that feels like the sincere and dutiful dispersal of medicine.
  5. Upgrade is a movie by Leigh Whannell, who wrote “Saw,” “Insidious” and other memorable horror movies. But other than the occasional moment of stunningly gratuitous gore, it’s nothing like those films.
  6. The overall tone is awed and laudatory, which may rub some viewers the wrong way. Willem Dafoe delivers narration taken from Robert Macfarlane’s “Mountains of the Mind,” which occasionally strays in the direction of the trite or overwrought.
    • 67 Metascore
    • 50 Critic Score
    It could be a deeply provocative tale, but the director seems reluctant to probe behind his artful facade.
  7. Lek gives Love & Bananas humanity, but Bell’s personality and enthusiasm is contagious, inviting us into the film. We root right along with her.
  8. Turns it into a 90-minute infomercial, with nary a revelation in sight.
  9. As entertainment, On Chesil Beach isn’t remotely satisfying, but it does deserve credit for being weird.
  10. Part of what’s missing in The House of Tomorrow is the acerbic punk spirit that inspires its two heroes, which could have been remedied by a sharper script.
  11. First Reformed has a confidence about it, the presence of filmmaking consciousness that can’t do wrong, because this time he knows exactly what he wants to say, not only in a general sense, but second by second and shot by shot.
  12. Show Dogs is really bad, even for a talking-dog movie.
  13. Suffice to say that McNeil plays it way too safe. Trying to have it both ways, he satisfies no one.
  14. There is a built-in pleasure in seeing Diane Keaton, Candice Bergen, Jane Fonda and Mary Steenburgen in the same movie. We’re used to them. We like them. We like being around them — but not so much that we can’t notice that Book Club is a pretty strained affair, not especially funny and weirdly off key.
  15. Regardless of how one might feel about its inherently icky subject matter, Dark Crimes needs more narrative momentum. The cast is game, the production design is impressive and a few surprises await — but even as things heat up, the film somehow remains cold.
  16. Even if it has B-movie trappings and the tension wanes in the second half, it’s a stylish psychodrama.
  17. The director is clearly an admirer of Francis (both the saint and the pope), and was able to conduct extensive and exclusive interviews with the pontiff.
  18. The performances are extraordinary, as they often are in Beauvois’ films, with Baye a study in quiet suffering and Bry wonderfully enigmatic — seemingly simple, but hinting at a soul capable of expansion and adaptation.
  19. The Seagull has all the big things going for it and yet so many little things going against it that it’s just not the movie it might have been.
    • 72 Metascore
    • 50 Critic Score
    Driver keeps their tales engaging with great music and vintage clips of CBGB, Club 57, the Mudd Club and the crumbling Lower East Side.
  20. The last half hour and the lively opening make us almost forget the movie’s so-so middle. It brings all the elements together, points to the future and keeps the action to a human-scale minimum. If you want to see Solo: A Star Wars Story, I wouldn’t talk you out of it.
  21. After shooting lots of people and cutting lots of throats, Deadpool tries blowing himself up, something he probably should have done first. And with that, the movie shifts. Deadpool 2 becomes less violent and a lot funnier. It becomes a much better movie than the original “Deadpool,” not an action bloodbath with laughs, but a knowing spoof of the superhero genre.
  22. Measure of a Man is intended as a touching coming-of-age film about one crucial summer in a young man’s life. But it’s a movie of gestures and feints, in which we’re constantly being told of events and relationships rather than seeing or feeling them.
  23. It’s colorful and imaginative, but other than Lu, the characters don’t have much depth. Emotional, that is, not oceanographic.
  24. If there’s a weakness to the movie, it’s that, despite its gut-level appeal, it doesn’t dazzle us with anything brilliant or unexpected. However, there are some nifty turns here and there, so it’s not entirely mediocre.
  25. Life of the Party presents a situation more than a story, and in that it’s more like a sitcom than a conventional movie.
  26. Two good characters and two good performances go into the old poubelle — or, as we say in English, the garbage bin.
  27. Tully doesn’t expand as it goes along. It feels insulated and hermetically sealed, and it seems to get smaller.
  28. The new version is a weak facsimile of an already mediocre film.

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