San Francisco Chronicle's Scores

For 1,420 reviews, this publication has graded:
  • 53% higher than the average critic
  • 3% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 0.8 points lower than other critics. (0-100 point scale)
Average TV Show review score: 65
Highest review score: 100 Westworld: Season 2
Lowest review score: 0 Killer Instinct: Season 1
Score distribution:
  1. Mixed: 0 out of 787
  2. Negative: 0 out of 787
787 tv reviews
  1. Amy Schumer takes no prisoners in The Leather Special, an hour of hilarious, raunchy comedy.
  2. Logic isn’t a factor here, but the show is fun, rather evocative of ABC’s canceled “Forever” and the aforementioned “Timeless.”
  3. Created by Julius Sharpe, the sheer silliness of the show is infectious and the performances by Pally, Meester and especially Lester are terrific. John Gemberling and Neil Casey are great goofy fun as those good-time boys, John Hancock and Sam Adams.
  4. Lange is always interesting, but she’s only occasionally convincing here as Crawford. The voice is too high, for one thing. Sarandon fares better, as much good as that does with such a lousy script.
  5. The action scenes are great and breathless. If only those pesky characters didn’t get in the way from time to time. Standen, Beals and Brooklyn Sudano as Mills’ sister’s friend Asha, do a pretty good job making up for dopey dialogue.
  6. Wonderfully loopy.
  7. The series is agreeable enough, in that it captures some of the spirit of the earlier show, but it’s hard not to hope Julianna Margulies will walk through the door to bring the moral conflicts that made “The Good Wife” so good.
  8. The show plateaus as we wait to find who got killed and how, but it has its moments, mostly when Kelley teeters toward the comic side of his unsteady walk on that tightrope.
  9. Sadie and Billy predictably debrief each other, supposedly complicating the ongoing case, but we’re more caught up in the weekly cases, especially when Cam Wirth is handling them. Cox sashays away with the show, which ends up being a feeble and not especially imaginative “The Good Wife” wannabe.
  10. There is an abundance of quality in Legion at every level, making it a show you can’t stop watching and, oh yeah, the best show of the new year.
  11. The scripts are solid, and the performances are spot on, especially the two leads, as well as Gisondo and Hewson as Eric and Abby. The only real question is whether the show can sustain itself beyond a first season.
  12. It’s plotless, humorless, laughless and pointless. The less said, the better.
  13. The combination of solid plotting, decent dialogue, breathless editing and solid performances makes the series work.
  14. The writing is nicely peppered with contemporary references, but, more to the point, effective character-based humor. In other words, this show is funny.
  15. Everyone, it seems, has a secret in Riverdale, and in the first four episodes of the series, some of those secrets are too conveniently revealed as new ones are loaded into the script to keep the momentum going. There’s minimal credibility here, but that doesn’t torpedo the show.
  16. As good as the cast is, the music is even better, with many of the group’s most memorable hits, such as “Mr. Telephone Man,” “Candy Girl” and, most of all, “Can You Stand the Rain” are celebrated in exquisitely choreographed and costumed performances.
  17. It’s possible that an acceptable performance could have patched over some of the cavernous inconsistencies in Zelda’s characterization, but Ricci’s performance is abominable.
  18. The series is at its convincing best when it depicts the constant and oppressive danger of covert operations, and the Broyleses have created credible characters to hold our interest. There’s something very off about the visuals of the series, though. It just doesn’t really look like a war zone. It’s too clean, for one thing, but the lighting and use of video instead of film battle the convincing elements of the series.
  19. HBO made five of the series’ 10 episodes available to critics, and perhaps The Young Pope makes sense as a whole. Half the loaf, however, is half-baked. In spite of that, and because of wonderful performances by James Cromwell, as an older cardinal who was Belardo’s mentor and resents that he wasn’t chosen pope himself, Cécile de France as the Vatican’s marketing director, and Orlando, The Young Pope has something that makes you keep with it.
  20. Victoria is a lesser offering [than Netflix's The Crown], but not without its charms, and it is certainly entertaining enough.
  21. Unfortunate Events is not only binge-worthy, it’s binge-demanding.
  22. At heart, Taboo is a melodrama, but a melodrama with superior attention to character detail and finely nuanced performances. It is filled with darkness, danger and mystery, and has a level of quality and import not often seen in television miniseries.
  23. The show is nicely written, but just that, and the performances are almost universally engaging. The exception to that is the performance that kicks the whole reboot up several notches: Rita Moreno’s.
  24. The film is surprisingly revealing, given the fact that its two subjects, in both similar and individual ways, are playing for the audience.
  25. For the most part, the characters hook our attention, and the performances are mostly pretty solid. Arjona’s performance grounds the series well.
  26. The third season of Man Seeking Woman proves that man finding woman only opens more doors for the writing staff and continues to make the series one of the funniest on TV and certainly among the most imaginative.
  27. "Ransom" is a perfectly adequate, by-the-numbers broadcast TV thriller. There are a lot of shows just like it, some better, some worse, and they help pay the bills for broadcast networks.
  28. So few people saw ABC’s "Uncle Buck" last summer that it’s probably safe in this case to mention that — wait for it — it’s the same plot, which probably is familiar to fans of the John Candy movie. The Mike Epps show lasted just a little over a month on ABC, but the chemistry is better among the ensemble cast of "The Mick," and Olson is the sassy glue that keeps the whole thing together.
  29. The series, based on the book of the same name by Daniel Kraus and del Toro, is well written, although it relies on stock character situations such as the young hero standing up to the school bully; the awkward, overweight sidekick learning that he is more capable than he thinks he is; and the popular high school girl becoming friendly with a kid from a lower social stratum. All of it works, though, because Trollhunters mostly wants to tell a gripping story.
  30. "The OA" is one of the most significant shows of the year simply because Marling and Batmanglij barrel through so many boundaries, stretch their combined imaginations so far and challenge the shopworn precepts of what is supposed to make an acceptable television series.

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