San Francisco Chronicle's Scores

For 1,192 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 1.2 points lower than other critics. (0-100 point scale)
Average TV Show review score: 64
Highest review score: 100 Pushing Daisies: Season 1
Lowest review score: 0 Til Death: Season 1
Score distribution:
  1. Mixed: 0 out of 649
  2. Negative: 0 out of 649
649 tv reviews
  1. 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.
  2. The forecast for America’s Next Weatherman is decidedly funny, with a only a slight chance of showers.
  3. The performances are very good at every level, in part because the script is good enough to bring out the best in this cast.
  4. Ferrell may never make Cooperstown, he’s a shoo-in for funniest guy in the US.
  5. 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.
  6. The series isn’t perfect. To be honest, it drags a bit and seems repetitive, as though Rosenberg is stretching things out to increase audience tension. In fact, you’re likely to feel the opposite from time to time, a desire to say, “oh, get on with it.” But stick with it.
  7. 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.
  8. 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.
  9. It is honest, funny, heartfelt and compelling. And necessary.
  10. 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.
  11. Overstuffed though the pilot is, the show works because of the performances.
  12. The Goldbergs is funnier because the jokes are better but also because it is more credible [than "Mom"].
  13. 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.
  14. Although the story moves slowly and much of the content consists of recorded phone calls, we want to know if Steven Avery was set up, if Brendan Dassey was involved in Teresa Halbach’s murder. We may think we know the answers, but by the end of the fourth episode, we’ve also witnessed enough out of nowhere surprises to accept that real life doesn’t follow a script.
  15. 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.
  16. 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.
  17. Although topicality trips up some of the jokes, others are spot-on.
  18. 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.
  19. 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.
  20. 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.
  21. 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.
  22. It is filled with adventure on the high seas and sex and intrigue on dry land. And, yes, above all, it's fun.
  23. The show makes good use of its New Orleans setting and the script hits all the right, albeit familiar, notes.
  24. The show is generally well written, expertly directed (Thomas Schlamme of "West Wing" directs the pilot) and most of the performances are solid.
  25. The show’s structure is smart in many ways, giving us more immediate satisfaction as individual stories play out, while piling on layers of mystery about many of the characters. Kirkman does it so well that we almost miss the fact that several subplots are pretty timeworn.
  26. A few missteps notwithstanding, The Bridge crackles with intelligence and great acting at every turn.
  27. The show's humor is subtle, the plot lines somewhat predictable, but both the individual character development and the interaction among those characters make Sweden more than welcome.
  28. Unexpectedly, it's funny. And it gets funnier and sharper in future episodes.
  29. What's partly holding "CSI: Miami" back from being great is that, as in the original "CSI," the whole premise is too pat.
  30. The plot is a little overstuffed, but the special effects, crisp direction and high-octane performances keep us interested enough to follow Alice down the rabbit hole.

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