San Francisco Chronicle's Scores

For 1,066 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 1.5 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Score distribution:
  1. Mixed: 0 out of 571
  2. Negative: 0 out of 571
571 tv reviews
  1. "Weeds" is colossally great... a series far better than its premise and utterly essential for devotees of smart, entertaining television.
  2. Manhattan brings legitimate class to WGN's nascent original content project.
  3. The series commands our attention because of how it was conceived by Neil Cross, who continues to write masterful scripts.
  4. By the third episode of the three sent to critics, the bits and pieces of apparent flotsam from the earlier episodes have begun to form a direction for Better Call Saul and as they do, the series becomes less a comedy and more a serious exploration of a Falstaffian character who may be much more than the buffoon he seems on the surface.
  5. 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.
  6. Several recent documentaries have tried to help the rest of the world understand the realities of being transgender, but, ironically, one of the better efforts does it well in spite of the fact that it focuses on the offspring of one of the most famous couples in pop culture.
  7. The films work individually, of course, but gain even greater meaning and emotional strength in context with each other.
  8. 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.
  9. But this is an epic drama on HBO, correct? So is it Giamatti or Adams himself who will make viewers wish for a swifter and less pedantic version on the History Channel?
  10. There's some spot-on and sharp humor throughout, but it never gets too light and breezy.
  11. 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.
  12. It probably works better onstage, but Stevens should know that what you do to achieve suspension of disbelief in a theater is not what you do to convince an audience that what it is seeing in a film is real.
  13. Television simply doesn't get warmer or fuzzier than Last Tango in Halifax, but the reason the six-part series works so well is that its sweetness is not unalloyed.
  14. Lost is a different genre, one that may infuriate even the loyalists, but there's something impressive and rewarding in its density.
  15. "Friday Night Lights" is not good. It's great.
  16. The strength of his film is that he leaves it to us to make our own decisions about Barnes and the other death row inmates.
  17. 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.
  18. The Americans benefits from convincing performances by the cast, but Weisberg's concept and writing in the first two episodes make the show much more than "just" a spy thriller.
  19. The humor is one reason the show works, and the cast, especially Kemper, is the other.
  20. The performances are very good at every level, in part because the script is good enough to bring out the best in this cast.
  21. The fall's funniest sitcom.
  22. 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.
  23. Like "The Cosby Show," to which it inevitably will be compared, Black-ish balances credible family situations with universally appealing comedy.
  24. Daring and original.
  25. 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.
  26. A few missteps notwithstanding, The Bridge crackles with intelligence and great acting at every turn.
  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. Hurricane is a whirling impressionistic painting of the band, beautifully conveying the energy, drive and genius of the Stones, more or less chronologically within the basic flashback structure.
  29. There is much more to the story than the graphic details of the invasion and whether the police could have intervened earlier. The case became a pivotal issue in the debate over the death penalty in Connecticut and that's a big part of the film.
  30. The filmmakers do a very good job keeping all the separate plates spinning for six hours, although, to be honest, the show virtually cries out for a sequel focusing more thoroughly on modern times.

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