San Francisco Chronicle's Scores

For 1,263 reviews, this publication has graded:
  • 52% higher than the average critic
  • 3% same as the average critic
  • 45% 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 Sons of Anarchy: Season 1
Lowest review score: 0 Rush (2014): Season 1
Score distribution:
  1. Mixed: 0 out of 688
  2. Negative: 0 out of 688
688 tv reviews
  1. This is pure comedy, with no hidden social agendas, no thinly disguised commentary on human behavior--nothing at all of much importance, except a whole lot of laughs.
  2. As credible as the film is, what isn’t always clear is why we should care if people want to believe in the Hubbard gospel, or give the church wads of cash each time they want to reach a new clarity level.
  3. The filmmakers do a very good job keeping all the separate plates spinning for six hours, although, to be honest, the show virtually cries out for a sequel focusing more thoroughly on modern times.
  4. The script is nicely detailed as it builds on the theme of a corrupt system fed by corrupt players. The one obstacle you’ll encounter, especially in early episodes, is that the biz-speak--most likely evidence of Sorkin’s participation in the writing--is almost impenetrable unless you work for the Financial Times.
  5. Other episodes seem fairly standard fare, entertaining and involving enough on their own, but lacking the offbeat quirkiness of maple syrup drownings. If the “straightforward” episodes weren’t so well written and directed, this could be a problem of consistency, but as it is, the series is fun and only slightly flawed.
  6. Clear History single-handedly rehabilitates the word "derivative," as long as the source material you're reworking is anything Larry David writes and stars in.
  7. In the end, the very droll and compelling Billy & Billie is much more than just a case of sibling revelry.
  8. Don't try too hard to make sense of it: Covert Affairs is simply--and simple--fun.
  9. "Vanished" is indeed compelling. And it is without question Fox's best fall offering (though, having seen all its shows, that praise is not as high as you might expect).
  10. On the basis of the first episode, you’re likely to come to the same conclusion I did: Eight is not enough.
  11. The strength of the show is that it reflects the truth that the justice system was created and is administered by men and women, who have complicated thoughts and points of view, and who may mean well, or be blinded by their own frailty and ambition.
  12. There is much more to the story than the graphic details of the invasion and whether the police could have intervened earlier. The case became a pivotal issue in the debate over the death penalty in Connecticut and that's a big part of the film.
  13. Sometimes formula done entertainingly is just what the country wants to eat.
  14. It may not have the production values of those shows [The Tudors or The Borgias], but it does have an Irons, who, along with the rest of the cast, makes The White Queen an entertaining romp through a complicated and fascinating period of English history.
  15. The writing is nicely peppered with contemporary references, but, more to the point, effective character-based humor. In other words, this show is funny.
  16. The performances continue to be winning on every level, and O’Malley’s scripts are works of tragicomic beauty.
  17. Both "The Godfather" and Tyrant are, at heart, about family dynamics. As the Al-Fayeed story evolves beyond Tuesday's pilot, that fact becomes clearer.
  18. The script by Evan Wright, Seth Fisher and Nick Schenk bristles with appealing gee-whiz energy, and the performances by Huisman, Aramayo and Hall, as well as those of the supporting cast, are perfectly in tune with the retro sensibility of the film.
  19. Two things are clear from the Mindy pilot: First, that the writers need to do some work to make the secondary characters less of a cliche, and, second, that Kaling has the stuff to go the distance.
  20. The show has enough originality and sheer wackiness to maintain viewer interest, not to mention ridiculous effects that are anything but special.
  21. In a world that has exploded with instantaneously accessible information, television news is hard-pressed to figure out how to keep up. It takes a show like Vice to make other news magazine shows seem like they belong in a TV antiques shop.
  22. The performances are nicely detailed and fully credible, contributing to the level of credibility necessary to keep the conceit of the show from seeming gimmicky.
  23. The pilot’s finale asks more questions than it answers, including who’s good and who’s up to no good in the scheme of things. The show probably would work better an hour earlier, but wherever NBC puts it, it’s worth finding.
  24. "Ugly Betty" is worth checking out. It retains a charm that far outstrips expectations. And Ferrera's performances are small wonders to behold.
  25. The music is effective without being especially memorable. You may not leave your living room humming any of it, but you’ll still be chuckling over some of the jokes in the lyrics, many centered on puns, childish humor and groan-inducing obviousness.
  26. As promising as the early episodes in Season 2 are, the over-the-top nature of "Tara" remains.
  27. Containment may not be the CW’s answer to “Downton Abbey,” but it’s a very well-made, well-written and well-acted thriller that will keep you guessing about everything except for the quality of the series.
  28. One of the many smart things about Covert Affairs is that the writers have always dangled Annie and Auggie's romantic possibilities before us, but without detracting from the international intrigue that remains the show's primary focus.
  29. 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.
  30. "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).

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