San Francisco Chronicle's Scores

For 1,023 reviews, this publication has graded:
  • 52% higher than the average critic
  • 4% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 1.7 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 The Roosevelts: An Intimate History
Lowest review score: 0 Rush (2014): Season 1
Score distribution:
  1. Mixed: 0 out of 547
  2. Negative: 0 out of 547
547 tv reviews
  1. The Americans benefits from convincing performances by the cast, but Weisberg's concept and writing in the first two episodes make the show much more than "just" a spy thriller.
  2. "Andy Barker, P.I." is a joyous, ridiculous, warm, affecting and silly comedy that is tone specific (read: Not everybody is going to get the vibe, and thus the jokes).
  3. Even a TV take on the classic Victorian-era penny dreadful has to work to suspend our disbelief, and Showtime's series does that through solid performances by most of the cast, appropriately lurid special effects and a competent, albeit humorless, script.
  4. A fairly promising new show with a lot of humor, solid performances, a snappily written script.
  5. For now, though, the credibility issues don't matter that much because we're more interested in the characters, who may not be all that credibly created themselves, but who are informed by Hitchcock's 1960 masterpiece.
  6. Who knew that the mom in "Spy Kids" would get one of the best female character roles on TV and helm one of the season's biggest dramatic surprises.
  7. Grantchester is a period piece, but it’s fascinating to view it through a contemporary lens. Daisy Coulam’s adaptation is superb: She fleshes out the main characters with a deft hand, to be sure, but takes her time, enabling us to get to know Chambers as we would a new acquaintance.
  8. Being Human works better than it should because of skillful writing, often laced with wry humor, and the very deep well of plot possibilities in the idea that three "monsters," as they call themselves, can pass for "human."
  9. It feels like a detective movie or TV show from another era.
  10. The show is funny enough, although you might wonder where it would go in a second season, but here's the dirty little secret of Mixology: It's intelligent and poignant as well as being entertaining.
  11. In what must be considered something of a stunner on several levels, Two and a Half Men, a new sitcom, is actually funny.
  12. Like "The Cosby Show," to which it inevitably will be compared, Black-ish balances credible family situations with universally appealing comedy.
  13. Mullally is certainly another reason to watch the show, but her presence also works to solve another problem: cast dynamics.
  14. The casting on Southland is a plus and so is Biderman's intent not to make it easy for viewers to succumb to "pilotitis."
  15. Dirty Sexy Money is compelling even when it's not, funny when you're not quite sure it should be, ridiculous in the strangest spots and ultimately addictive if, for no other reason, you want to watch more episodes to find out what kind of beast it is.
  16. The pilot, directed by Alexander Payne ("Sideways"), is superb, and the first handful of episodes (there are 10 in the season), prove that the writing is consistently strong, the characters multidimensional and the tone assured and surprising in its depth.
  17. The jaded will have a field day, but so what? In the end, if lives are changed like they are on "Three Wishes" and "Extreme Makeover: Home Edition," then who cares what corporate names are flashed or how many manufactured "reveals" there are?
  18. Missing may be 2 percent inspiration and 98 percent perspiration with all of its action scenes, but it's fun to watch. Judd classes up the joint nicely.
  19. The Borgias, created by filmmaker Neil Jordan ("The Crying Game"), is the better of the two [The other is "Camelot"], thanks largely to Irons, a strong supporting cast and sophisticated production values.
  20. The writing is juvenile, hormonal and often pretty dang funny.
  21. Their unwavering obliviousness to what may be happening in the world actually makes their accidental commentary on current events even funnier.
  22. The Riches is gloriously inventive, daring and provocative, with excellent performances.
  23. The humor is one reason the show works, and the cast, especially Kemper, is the other.
  24. If you can get past the shortcuts that series like this have to take (everything happens too effortlessly, there's excessive exposition, etc.), there's an enormous likability factor in play, and it makes you want to watch it (without much mental effort) the following 13 weeks.
  25. Once you surrender to the surrealism, the comedy works, but in the long run, what makes the show itself work is the cast, especially Baruchel and Andre.
  26. Kinnear is great in the role because he doesn’t look like a loser--quite the opposite--and that’s important.... Perhaps because this is the pilot, most of the episode is devoted to showing Keegan screwing up and only a few afterthought scenes focus on Torrant’s case. In order to succeed from week to week, the series needs more than just a lot of figurative pratfalls.
  27. It opens into a fairly entertaining ensemble show about beautiful, bright people.
  28. Adams and Macht are terrific, with the former loosening up quite considerably this year as Mike....Torres is cool, sexy and commanding as Jessica, and Markle, Hoffman and Rafferty contribute greatly to the energy of the show's core ensemble.
  29. The two episodes sent to critics aren’t perfect, but their flaws (pompous introductory narration, a weak performance by Thurman, a handful of telegraphed cliches in the plot) are easily overlooked. Other performances, especially those of Quinto and Sarsgaard, are stunning in this provocative and surprisingly literate character-driven drama.
  30. Manhunt may not have the thrills and chills of a Hollywood feature film about the raid on bin Laden's compound, but you'll come away from a viewing of the film knowing that there is much more to covert operations than midnight raids and state-of-the-art electronic surveillance.

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