San Francisco Chronicle's Scores

For 1,273 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 1.1 points lower than other critics. (0-100 point scale)
Average TV Show review score: 64
Highest review score: 100 Casual: Season 1
Lowest review score: 0 Killer Instinct: Season 1
Score distribution:
  1. Mixed: 0 out of 696
  2. Negative: 0 out of 696
696 tv reviews
  1. Dinklage is particularly good here and the whole idea of trying to hide from the public the fact we've been invaded is intriguing fare.
  2. More emotional, equally gripping, "CSI: N.Y." proves that with care you can successfully copy yourself across the TV schedule. [21 Sep 2004]
    • San Francisco Chronicle
  3. Ben Queen’s sitcom is irresistible.
  4. The 13-episode series may be imitative, but it’s well plotted, acted and directed. Bew is solid in the title role as is Speleers who, despite his odd Ed Grimley haircut, is every bit the petty, envious and devious villain you’d want Beowulf to face.
  5. Right out of the gate, the series is surprisingly solid. What it ultimately becomes bears watching.
  6. There’s little doubt that Shades of Blue would not stand out from the other TV cop shows were it not for Lopez. She’s so good, you can’t help wishing someone would write her a better show.
  7. The good news is that State of Mind is surprisingly engaging and Taylor continues to be wonderful in just about any role she plays. This is a series that bears watching.
  8. The gore and the laughs begin almost at once as the series begins and never let up.
  9. The strength of his film is that he leaves it to us to make our own decisions about Barnes and the other death row inmates.
  10. The show is nicely packaged and every performance is a knockout, including Troy Garity as Jason, Spencer’s former agent who still makes dreams real for current NFL players. In another context, he’d be named Mephistopheles.
  11. It has real possibilities, but since the “My Fair Lady” climax is repurposed in the pilot, it’s unclear where the relationship will go.
  12. The show’s first episode sets the scene, but only hints at the richness of detail that informs future episodes. It’s not just that we learn things about the various characters we probably didn’t suspect at the outset: The genius of the series is how Spotnitz and his creative team carefully advance the thought-provoking thematic elements through stunning attention to detail.
  13. The pilot episode efficiently sets Minority Report up as a promising episodic drama that should pair well with the network’s other Monday drama, “Gotham.” Only a pre-cog can say for sure whether the show will have legs, but signs point to yes.
  14. They bring David himself on as a kind of nudge to the ribs, as if to say, "Of course we know we're ripping off Larry's show." But what the hey? David's clearly in on the joke and is well paired with Reiser as the two of them riff off each other over lunch.
  15. The multiple sub-stories would feel gimmicky if it weren’t for the solidly crisp and sprightly writing and winning performances by the entire cast.
  16. If the series were just about Breeanna looking for her biological father, it would be passably interesting. But her search also sheds light on a variety of issues that speak eloquently about the nature of a modern family.
  17. If the ambition of the pilot continues, American television may get another remake right. We'll have our first hint this next week. In the meantime, enjoy the pilot.
  18. Maron is his own acerbic, sad-sack self, and his new show is worth a look.
  19. It's a strong cast, and Byrne and Wiest continue to deliver incredibly mannered and minutely shaded performances.
  20. The first episode doesn’t begin to suggest how far Vice Principals will go and how funny it will become. However, you can readily appreciate the chemistry between McBride and Goggins.
  21. Victoria is a lesser offering [than Netflix's The Crown], but not without its charms, and it is certainly entertaining enough.
  22. The film has all the hallmarks of a Ken Burns production, including period music (arranged by Wynton Marsalis), a utilitarian narration (by Keith David this time) and a lot of vintage still photos and film footage, some of which aren’t specific to the story of Jackie Robinson but set the scene, perhaps so much so that at times the film feels padded.
  23. The promise that Trump will be Trump is fulfilled on "The Apprentice" -- he is funny bossing these 16 people around. And there are worse things on television than watching a guy with two advanced degrees -- an M.D. and an MBA -- make a complete ass of himself trying to sell lemonade to tourists. [7 Jan 2004]
    • San Francisco Chronicle
  24. There are more questions than answers in the pilot of Extant, which, in this case, is a good thing. The seeds of dramatic conflict have been planted, and we're going to come back the next week to see how all of this plays out.
  25. What was true about the first season holds for the second: Regardless of the links between characters and their stories, Full Circle never feels claustrophobic or insular. Instead, the experience of watching the series becomes counterintuitively universal, the more we get to know these flawed and complicated characters.
  26. There's a slight but perceptible stylistic change that makes it less funny, even though it's still insane and inspired and original. [12 Sep 2007]
    • San Francisco Chronicle
  27. The heart of “Kareem” is, of course, Kareem Abdul-Jabbar. He sits down for an interview and tells his story, openly and without any of the trademark reticence.
  28. Occasional PSA breaks aside, Asylum is all in great and occasionally gory fun, and the cast members deliver the over-the-top dialogue with a heaping topping of relish.
  29. Allen brings the whole TV-series self-consciousness bit home in the final minutes of the last episode, but he needn’t have worried. The fact that he hasn’t spent the past half-century trying to remake “My Mother the Car” enables him to simply adapt what he does best for the so-called small screen. And it’s a good fit. The performances are winning, with wonderful cameo contributions.
  30. Lights Out may not reach the level of "The Sopranos," but it has enough going for it to at least earn a shot at the title.

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