San Francisco Chronicle's Scores

For 1,382 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: 65
Highest review score: 100 Dexter: Season 1
Lowest review score: 0 Dr. Ken: Season 1
Score distribution:
  1. Mixed: 0 out of 762
  2. Negative: 0 out of 762
762 tv reviews
  1. The six-part series not only makes science accessible, but it’s also fun to watch.
  2. All the Way is packed with superb performances in addition to Cranston’s. Mackie delivers an Emmy-worthy performance as King. ... The script is nearly perfect in its nuanced attention to the complexities of Johnson’s character.
  3. The point is, it works. From the get-go, we’re prompted to acclimate ourselves the notion that, like the man or woman upstairs, Preacher works in mysterious and unpredictable ways.
  4. Courage or crazy, or maybe both, everyone involved is following the same directive: to blow up the traditional sitcom. It’s just crazy funny.
  5. So much happens in Flowers that it’s hard to believe it comprises only six half-hour episodes. More to the point, though, is that the show is so completely hilarious for a very long time. Sharpe’s writing is on point at every moment, with a wondrous attention to detail.
  6. The mysteries at the respective centers of the two episodes made available to critics are engaging enough, but it’s the interplay among Doyle, Houdini and Stratton that holds our interest.
  7. Hollander more than succeeds in making Corkoran completely repulsive, despite the fact that the character is unwaveringly loyal and smart enough to realize Pine isn’t who he seems to be. That said, the role is offensively homophobic. ... Otherwise, The Night Manager is a class act, not only because of the care that has gone into the writing, direction and performances, but in the great respect the creators show to the quality of le Carré’s novel.
  8. 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.
  9. HBO’s Confirmation isn’t the first TV project to play it safe, but in this case, playing it safe results in a missed opportunity that has as much to do with what’s happening in the real world as it does with timid filmmaking.
  10. 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.
  11. Although you never lose interest in the story, Hudgins begins to pile it on too much the series continues, with too many plot-enhancing coincidences added to too many predictable story twists.
  12. The writing and performances combine to make The Detour worth the trip.
  13. Nothing Left Unsaid offers great insight into the lives of its subjects, but its even greater achievement as a film is unanswered questions it provokes in its viewers.
  14. The performances are extraordinary, in spite of the fact the characters are all very similar--detached from emotion, honesty, sadness, shame and even desire by the airlessness of contemporary life. ... The Girlfriend Experience is one of the best new series of the young year.
  15. The jokes are frequent, if not all that imaginative, but funny enough. But what makes the show modestly enjoyable is its innate sweetness and an approximate authenticity of context.
  16. Goldberg’s perfectly crafted script is realized through shattering performances at every level, especially among the major players.
  17. Enos is terrific, managing the seeming impossible: to go from adoring fiancee to avenging private-eye angel in a flash. She’s well partnered with Krause, who is an entirely convincing liar when Ben and Alice are still together, and equally credible when his ruse is revealed. The show moves so fast, you may miss its logical flaw until after the episode ends.
  18. The series is not crowded with laughter, but things begin to look up by the third episode.
  19. In the end, it works only as well as the performance of its star. Needless to say, when the performance is delivered by Audra McDonald, it works brilliantly.
  20. Arnett’s personal appeal does help the pointless series from time to time, but it just as often exacerbates the hollowness of it. The whole man-child thing is getting old.
  21. The plot is filled with what might be considered melodramatic cliches.... But a funny thing happens after the first episode or two: "Underground" ... loses its melodramatic patina. That’s almost entirely because of the performances.
  22. The early episodes are the most overly ripe. Eventually, we get used to the bad dialogue and unintentionally funny direction and performances and surrender to the fundamental mystery of who Damien is, not to mention the question of the real identities and purpose of various people around him.
  23. The series’ exploration of the nature of a family, the personal demons of its members and how trauma can trigger continuing tragedy make The Family a worthy addition to ABC’s Thursday night drama lineup.
  24. The script is a masterpiece of Texas noir, with the kind of dialogue Raymond Chandler might have written if he’d found his way to the area.
  25. The Real O’Neals is well-written, funny, well-acted and has universal appeal because of those family secrets.
  26. The episodes are predictable because they’re unoriginal and the writing is painful. The canned laughter is perhaps the greatest reminder of the “good old days.” If only all those recorded voices had something legitimate to laugh at.
  27. Prey is a near perfect blend of well-crafted characterizations within the context of a credibly gripping murder case. Actually, make that two gripping murder cases, as the series offers two separate story lines linked by location and by the dogged crime-solving presence of Detective Sgt. Susan Reinhardt.
  28. Even if the creators had stuck to the traditional pattern of star-crossed-lover romances, instead of turning it on its ear, Love would probably be almost as lovable as it ends up being. That’s because of great writing and great performances.
  29. The story does meander from time to time, especially in the early episodes, but 11.22.63 eventually finds its way.
  30. Big, noisy and crazy brilliant HBO series.... The performances are masterful on every level, beginning with Cannavale’s Richie Finestra, who is only occasionally capable of keeping his inner turmoil of rage, ambition and fear of failure from exploding to the surface. With his performance, Cannavale vaults to the top of the list of Emmy candidates.

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