San Francisco Chronicle's Scores

For 1,339 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 Damages: Season 1
Lowest review score: 0 Rush (2014): Season 1
Score distribution:
  1. Mixed: 0 out of 735
  2. Negative: 0 out of 735
735 tv reviews
  1. Most of the performances are very good and some are thrilling, particularly Kline's Jacques, whom he imbues with great world-weary nobility.
  2. The show plateaus as we wait to find who got killed and how, but it has its moments, mostly when Kelley teeters toward the comic side of his unsteady walk on that tightrope.
  3. By having everyone around Jackie seem daft, quirky or incompetent--an attempt at humor, one would guess--the series never felt connected. Those elements improved by the ended of Season 1 and have, for the most part, been ironed out in the early episodes of Season 2 (though the tone will need to be monitored).
  4. The series is fairly lightweight, closer to Berlanti’s “The Flash” than the darker “Arrow,” but Benoist makes an appealing heroine, and there’s definite chemistry in her scenes with Brooks.
  5. The three episodes made available to critics are instantly compelling, taut with edge-of-your-seat drama and thick with credible melodrama.
  6. The gore and the laughs begin almost at once as the series begins and never let up.
  7. Key and Peele are sufficiently talented and versatile to carry off a half-hour show on their own.
  8. Awake grabs you, unnerves you, breaks your heart and even makes you work a little.
  9. 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.
  10. 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.
    • 74 Metascore
    • 75 Critic Score
    Composed of extraordinary source footage, most entirely unseen before, that combines newsreels, U.S. and British television shows, home movies and hundreds of rare photographs blended with the requisite talking-head interviews.
  11. Funny, fearless, down to earth and informative, Monaghan makes a great host and guide and gives us a new respect and appreciation for nature's wild things--from a very safe distance.
  12. 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.
  13. The show has a winning cast. Foster, Duff, Trout, Mazar and Tortorella are terrific.
  14. The show is moderately entertaining, mostly because of the appeal of the three leads.
  15. Just enough geeky insider stuff to keep the fan-boys from grousing too much, but an even bigger portion of well-written action, drama, humor and intricate plot details to hook viewers who gave up comic books before Steve Canyon was grounded.
  16. The life of an everyday American high school girl has rarely been rendered with such sly and funny precision as it is in MTV's aptly named Awkward.
  17. You think you know this situation and how it will turn out, but there are surprise, yet entirely credible, twists throughout Monday's episode.
  18. It may be “Wet, Lukewarm American Summer,” but it’s perfect mindless entertainment to warm up your own American summer.
  19. The show, co-created by Shawn Ryan of "The Shield," is weirdly watchable, the way a hamster spinning a treadmill is watchable.
  20. The performances are precise and beautifully detailed, as are the characterizations in Thomas' script. Fans of the original series will see certain echoes in some of the characters in the sequel, but the echoes are faint enough to allow us our memories of, among so many others, Rachel Gurney and David Langton as the Bellamys, Angela Baddeley as the cook and Gordon Jackson as Hudson, who was so much more than just the butler.
  21. Gibney is as successful as anyone in getting beneath Sinatra’s carefully curated surface, but only so far.
  22. A charming but underwhelming pilot.... The second episode is dismal, sucking all the air out of whatever hopes you might have had for that one.
  23. Klondike grabs you with terrific performances, an unusually rich script, magnificently sweeping visuals of jagged mountains overlooking valleys of ice and snow, and such a convincing attention to period detail, you'll believe you're back in Dawson City at the end of the 19th century.
  24. Fans can read into it whatever they want, but the series' greatest strength is the vampire quality of accepting fate and reveling in it.
  25. By the time the second hour comes on Monday and tries to give these characters some dimension, you already know that the talent on both sides of the camera simply isn't there to make this a worthwhile trip.
  26. The script is evocative of Fielding’s “Tom Jones, a Foundling” (1749) or Defoe’s “Moll Flanders” (1722), and the performances are sublime. Morton and Manville make engaging adversaries--rather like 18th century versions of “Dynasty’s” Alexis and Krystle.
  27. It’s clear, then, that the allure and the annoyance of the series rest in the same area. FX gets “Nip/Tuck” to stand out in a crowded field by being provocative both under the knife and under the sheets. Sex and surgery are the draw, but the acting, the emotional battlegrounds and even the issues raised are ultimately the reasons the series excels.
  28. Bunheads will take some work and it could just as easily become either annoying or likable.
  29. The performances are actually good in the series, if only the actors had credible or remotely likable or, dare we ask, funny characters to play.

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