San Francisco Chronicle's Scores

For 1,002 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 2 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Southland: Season 4
Lowest review score: 0 The Loop: Season 1
Score distribution:
  1. Mixed: 0 out of 532
  2. Negative: 0 out of 532
532 tv reviews
  1. American Horror Story: Coven ramps the silliness up an enjoyable notch with a story set in a New Orleans school for young witches.
  2. Just as "A Mighty Wind" and "Waiting for Guffman" aren't like traditional movies, "Family Tree" isn't like traditional sitcoms, in that there isn't a traditional setup-punch-line structure to it. It does evoke comedies such as "Curb Your Enthusiasm" and "Arrested Development," though, where the humor is more incremental, character-based and cumulative.
  3. Big Love just doesn't induce love. And yet, the series crafts compelling stories.
  4. Save for one far-fetched incident, the two hours provided enough clues as to where the season will head--and how much conflict from secrets and lies will be coming down the pike - to hook fans of the show who might have been waffling on the commitment.
  5. If Amy really was enlightened, there'd be no show, but the fact that she's wearing her enlightenment like an ill-fitting coat gives the show both its comedic and plot trajectories.
  6. For the most part, [Haynes] succeeds because he embraces the story's excesses instead of feeling they need to be swept under a metaphorical rug.
  7. Rodriguez is a charmer and as intentionally preposterous as it is, Jane has more than enough plot string to keep it going for a long time.
  8. The trick to Archer is that you have to listen--and watch--carefully. What can be seen and heard on the surface is outlandish, but the real genius of the show is to be found in its seemingly offhand sight gags and throwaway lines.
  9. Breaking Bad promises seven compelling and unique hours of drama.
  10. There isn't a bad performance in the bunch.... Veterans Molina and Irwin stand out for especially complex and nuanced performances.
  11. Sometimes the writing is very good. At other times, it comes off better than it really is because the dialogue is delivered by four accomplished actresses.
  12. The performances are very good at every level, in part because the script is good enough to bring out the best in this cast.
  13. At times slight--the trick of talking into the camera was never novel, and the absence of an erotic backbone made it feel partly contrived--Secret Diary of a Call Girl nevertheless ends up at an unexpected place: smartly satisfying.
  14. 1600 Penn may not be as sophisticated as the hysterical HBO series "Veep," but it's still pretty funny when all the cylinders are firing.
  15. Despite the complexity of the subject, it's impossible not to get the gist of what went on in 2008, thanks to the focus on the players and the actors who do the playing.
  16. Because Rash speaks the same lingo as his subjects, The Writers' Room has the potential to provide real insight into the process of making great TV.
  17. Overstuffed though the pilot is, the show works because of the performances.
  18. The Goldbergs is funnier because the jokes are better but also because it is more credible [than "Mom"].
  19. The acting here is exceptional and the writing strong and honest. Though "Brotherhood" may not be in the rarefied air of "The Sopranos" or "The Wire," it's still a major achievement for Showtime's original-series development and yet another top-notch cable drama.
  20. It's unlikely that any TV drama filmed in Toronto could ever come close to the bloody reality of war, but ABC's new series, Combat Hospital, makes a pretty compelling attempt at doing so.
  21. Whether you see the seams or not, though, what matters is that it all works, and we'll keep watching, if only to see Quaid and Chiklis square off against each other week after week.
  22. Although topicality trips up some of the jokes, others are spot-on.
  23. This is not sophisticated, drawing-room humor. It's closest to what they used to call college humor, and what is now considered stoned humor. But beneath the silliness is gentle but still dead-on satire that makes The Birthday Boys worth a look and a laugh.
  24. As has been the case in so many films and TV shows, Sevigny is the most compelling reason to watch Those Who Kill, but if the scripts remain as carefully crafted as that of Monday's pilot, Sevigny will have found a vehicle worthy of her singular skills.
  25. Of course it's childish, but in a good way as it effectively taps into the kid in everyone, much as "South Park" does. It both celebrates and gently spoofs the traditions of superhero comics.
  26. Undateable still doesn't quite capture the zany entirety of D'Elia's comic style, but it comes closer than anything he's done so far. The rest of the cast is solid; the writing works; the familiar situation is at least freshened by snappy direction and appealing characters.
  27. It is filled with adventure on the high seas and sex and intrigue on dry land. And, yes, above all, it's fun.
  28. The show makes good use of its New Orleans setting and the script hits all the right, albeit familiar, notes.
  29. The show is generally well written, expertly directed (Thomas Schlamme of "West Wing" directs the pilot) and most of the performances are solid.
  30. A few missteps notwithstanding, The Bridge crackles with intelligence and great acting at every turn.

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