San Francisco Chronicle's Scores

For 1,023 reviews, this publication has graded:
  • 52% higher than the average critic
  • 4% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 1.7 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 The Roosevelts: An Intimate History
Lowest review score: 0 Rush (2014): Season 1
Score distribution:
  1. Mixed: 0 out of 547
  2. Negative: 0 out of 547
547 tv reviews
  1. The episode is about making Clara, and the audience, feel at home with the new Doctor. She does, and we do.
  2. The level of cleverness of Flight of the Conchords is off the charts.
  3. In every case, there is an abiding feeling for character and authenticity that helps elevate Orange Is the New Black to a new definition of television excellence.
  4. As good as it was last year, it's off to an even better start in its sophomore year.
  5. A brilliantly conceived and relentlessly entertaining new drama. [1 Oct 2004]
    • San Francisco Chronicle
  6. In addition to electrifying footage from a number of live concerts, including the famous “T.A.M.I. Show” in which Brown upstaged the Rolling Stones (the film’s producer denies that was the case), Mr. Dynamite gives us fascinating insight into the evolution of Brown’s music.
  7. At every turn in this heart-wrenching series of films, we are reminded that these men and women are human, no matter how robotic they may seem as they rapidly snap off shots of death and tears.
  8. Stunningly great execution.
  9. [It's so] good you can't help wondering why no one thought of it before, a compelling mix of credible real-life melodrama with a fictionalized approximation of what it takes to get a Broadway show from the idea stage to opening night.
  10. The performances, the writing, the intelligence that goes into the script and the characters--all reasons for welcoming the start of a new season of The Hour.
  11. With cinematographer Sophia Constantinou, and a haunting musical score by Laura Karpman and Nora Kroll-Rosenbaum, Kates has created a fact-based profile, but with boldly evocative impressionist strokes that mirror the complexity of Sontag’s life and career.
  12. This is a series that was completely unexpected, and Hall has hard-and-fast rules about what Joan and God can do. She's not making up the story arcs on the fly, which gives confidence that this unusual creation is in good hands. [25 Sept 2003, p.E1]
    • San Francisco Chronicle
  13. Togetherness is easy to like on one level and probably a little more challenging as the Duplass brothers explore the quiet discontent among people who are just trying to do they best they can. It’s worth the effort. The emotional payoff is enormous.
  14. When you have a story as thoroughly involving as this one, evoking both "King Lear" and "Citizen Kane," and when the performances are this good, Boss almost directs itself.
  15. "Weeds" is colossally great... a series far better than its premise and utterly essential for devotees of smart, entertaining television.
  16. The series commands our attention because of how it was conceived by Neil Cross, who continues to write masterful scripts.
  17. What's remarkable about this quartet, and why Push Girls proves that reality shows can actually be intelligent and engaging, is that in most ways the women's lives are in fact not all that remarkable.
  18. When Season 3 kicks off spectacularly, there's a slight exhale in the first 59 minutes--then a twist. And not a small one, either. By the second episode, the writers give you roughly 40 minutes to digest that twist, then drop a real stunner. Which is--just to cut to the chase here--truly and incredibly exciting television.
  19. Making a film is kind of a nightmare, but a riveting one. And Project Greenlight is in itself a riveting documentary. It's got a hero, it's got stars, it's got drama. In 12 parts, we'll find out if there's a happy ending.
  20. Lost is a different genre, one that may infuriate even the loyalists, but there's something impressive and rewarding in its density.
  21. "Friday Night Lights" is not good. It's great.
  22. Glee, one of the season's best and most anticipated new series, delivers on both counts - and more. It's a quirky, sweet, humorous, nonpartisan funfest.
  23. The fall's funniest sitcom.
  24. People who watched the Maysleses' documentary when it came out probably found the women strange, to say the least, but may have also felt sympathy for them in the end. That's the feeling that director and co-screenwriter Michael Sucsy is going for in the HBO film, and he achieves it in spades.
  25. Daring and original.
  26. The performances are superb, especially that of Sewell in the title role. He underplays the part to sublime perfection, making Aurelio Zen one of the most attractive and fascinating TV cops in years.
  27. The acting (from a mostly unknown cast), cinematography (you can just stare at this series) and especially Weiner's writing carry the series to exceptional heights.
  28. All your favorites are back in force, with a few twists, but the allure of the series always has been and always will be Hall, who manages to make a killer (who kills only people who deserve it, mostly) likable, believable, engaging and funny, as he works his job as a blood splatter expert at Miami Metro Homicide.
  29. The joy of this series really comes down to two things: lots of action and some babelicious butt-kicking. Not something to be proud of for enjoying it, but true. Pass the chips and ale -- and down in front!
  30. The show succeeds by spreading out the story lines. By the second episode, everyone is surprisingly well developed.

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