San Francisco Chronicle's Scores

For 1,014 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 1.8 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Southland: Season 4
Lowest review score: 0 The Loop: Season 1
Score distribution:
  1. Mixed: 0 out of 542
  2. Negative: 0 out of 542
542 tv reviews
  1. 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?
  2. There's some spot-on and sharp humor throughout, but it never gets too light and breezy.
  3. 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.
  4. 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.
  5. 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.
  6. Lost is a different genre, one that may infuriate even the loyalists, but there's something impressive and rewarding in its density.
  7. "Friday Night Lights" is not good. It's great.
  8. 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.
  9. 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.
  10. 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.
  11. The humor is one reason the show works, and the cast, especially Kemper, is the other.
  12. The performances are very good at every level, in part because the script is good enough to bring out the best in this cast.
  13. The fall's funniest sitcom.
  14. 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.
  15. Like "The Cosby Show," to which it inevitably will be compared, Black-ish balances credible family situations with universally appealing comedy.
  16. Daring and original.
  17. 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.
  18. A few missteps notwithstanding, The Bridge crackles with intelligence and great acting at every turn.
  19. 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.
  20. 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.
  21. 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.
  22. 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.
  23. The film is cleverly structured as a time-travel flashback, beginning in 1966, at the end of Hartnell's tenancy of the lead role.
  24. [The balance between love and sex in the gay world] is a valuable and promising theme, more than worthy as a foundation for a show about contemporary gay life, but it needs to be explored through better writing and deeper character development, and without the predictable cliches that rattle like Muni’s F line through the six episodes of Looking that were sent to critics.
  25. 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.
  26. It's slightly unpolished in some areas but funny and charming and a perfect companion series to "Chris."
  27. In the end, it's easy to overlook some of the credibility gaps because the writing is otherwise so fine, as are the direction and the performances.
  28. An argument could be made that so much attention to the history-making World Series runs of both of their favorite teams - which happened after the original documentary aired - is excessive, particularly with the Yankees. But that's a minor quibble in an otherwise superb, informative account.
  29. It was a very funny show, and while there are expected similarities with “The Daily Show,” Oliver’s personality sets the HBO show apart.
  30. Manhunt may not have the thrills and chills of a Hollywood feature film about the raid on bin Laden's compound, but you'll come away from a viewing of the film knowing that there is much more to covert operations than midnight raids and state-of-the-art electronic surveillance.

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