San Francisco Chronicle's Scores

  • Movies
  • TV
For 7,017 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 0.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 American Pie
Lowest review score: 0 Paris Can Wait
Score distribution:
7017 movie reviews
  1. This is a film that would never work without brilliant casting of the child actors, and it’s a marvel to watch the interplay between the young girls, who don’t deliver a false note.
  2. Tag
    Tag isn’t interesting at all, but its failure is. It’s the kind of movie that makes the viewer ask questions, such as, why isn’t this working? Why is this bombing? Why is this dying the death? Why am I shifting in my seat just to stay conscious? The movie seems like it should be funny, but it’s not, so why?
  3. One of the nicest things about Hearts Beat Loud, and there are several nice things, is the way that Offerman and Clemons seem like father and daughter. This is the work of the actors, but also of the director.
  4. Incredibles 2 was 14 years in the making, and it feels almost that long watching it.
  5. The film is an excellent reminder of how important soccer is globally. It’s more than a sport.
  6. It lacks a moral center, and at times seems oblivious to the laughable things that are happening on screen. It’s also about 20 minutes too long. And yet SuperFly is entertaining, period. The dialogue is fast and fun, and the sense of fashion is so pervasive that it occasionally distracts from the movie.
  7. As a first-time director, Pearce manages something difficult. He creates a tone that acknowledges absurdity, but also consequences. He finds an edge that’s extreme, that’s weird, that’s satirical and that goes right to the edge of farce, and yet the movie is at all points as involving as an intense drama.
  8. As an antidote to the frenetic nature of a lot of children’s TV of the day, Rogers preferred a measured pace on his show, and even made judicious use of silence. These are just two of the numerous gifts given by this extraordinary man to the children lucky enough to have watched “Mister Rogers’ Neighborhood.”
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. 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.
  15. Lek gives Love & Bananas humanity, but Bell’s personality and enthusiasm is contagious, inviting us into the film. We root right along with her.
  16. Turns it into a 90-minute infomercial, with nary a revelation in sight.
  17. As entertainment, On Chesil Beach isn’t remotely satisfying, but it does deserve credit for being weird.
  18. 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.
  19. 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.
  20. Show Dogs is really bad, even for a talking-dog movie.
  21. Suffice to say that McNeil plays it way too safe. Trying to have it both ways, he satisfies no one.
  22. 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.
  23. 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.
  24. Even if it has B-movie trappings and the tension wanes in the second half, it’s a stylish psychodrama.
  25. 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.
  26. 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.
  27. 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.
  28. 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.

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