San Francisco Chronicle's Scores

For 1,277 reviews, this publication has graded:
  • 53% higher than the average critic
  • 3% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 1.1 points lower than other critics. (0-100 point scale)
Average TV Show review score: 64
Highest review score: 100 Man Seeking Woman: Season 3
Lowest review score: 0 The Mob Doctor: Season 1
Score distribution:
  1. Mixed: 0 out of 699
  2. Negative: 0 out of 699
699 tv reviews
  1. It's helpful to remember that Life on Mars is less about said realism and more about Sam's twisted journey. Enjoying that retro-cool ride is the essence of the series.
  2. It takes special skill to write and enact a character like Eliot, someone with psychological tics.... Mr. Robot and Malek get it more than right. Let’s hope Eliot doesn’t get lost in a cliched crowd beyond Wednesday’s premiere.
  3. Nothing gets lost in translation in Deutschland 83, especially the timeless human drama.
  4. 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
  5. 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.
  6. 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.
  7. Take away the song and dance, you’re left with an engaging series about a young woman who’s too smart to be as obsessed as she is supposed to be.
  8. Though future episodes don't quite measure up to the brilliant pilot, Archer nurtures a collection of recurring themes that pile up and become funnier the more they are referenced through the episodes.
  9. 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.
  10. Project Runway is entertaining and likable on so many levels that it's hard to resist.
  11. "Weeds" is colossally great... a series far better than its premise and utterly essential for devotees of smart, entertaining television.
  12. Manhattan brings legitimate class to WGN's nascent original content project.
  13. The series commands our attention because of how it was conceived by Neil Cross, who continues to write masterful scripts.
  14. 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.
  15. 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.
  16. 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.
  17. The films work individually, of course, but gain even greater meaning and emotional strength in context with each other.
  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. Angie Tribeca hits on every cylinder--sharp writing, consistent attention to detail (the visual jokes are just as funny as the spoken ones), terrific performances by Jones, MacArthur and Burns, as well as the secondary cast and guest stars, and great direction, including Steve Carell for the pilot episode.
  20. 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?
  21. There's some spot-on and sharp humor throughout, but it never gets too light and breezy.
  22. 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.
  23. Writer Stephen Butchard has done a superb job distilling the nuance and complexity of Cornwell’s story, which avoids simplistic good guys vs. bad guys plotting.
  24. 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.
  25. 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.
  26. Lost is a different genre, one that may infuriate even the loyalists, but there's something impressive and rewarding in its density.
  27. There’s no question that he [creator Mike Schur] and NBC are taking a chance with this tangy fantasy froth, but the necessary elements for a successful comedy are there, including the chemistry between Danson and Bell.
  28. "Friday Night Lights" is not good. It's great.
  29. 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.
  30. 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.

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