San Francisco Chronicle's Scores

For 910 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 Pushing Daisies: Season 2
Lowest review score: 0 Moonlight: Season 1
Score distribution:
  1. Mixed: 0 out of 484
  2. Negative: 0 out of 484
484 tv reviews
  1. From the two new episodes made available to critics for review, it's clear that the quality of Breaking Bad will continue undiminished.
  2. Quite possibly the finest closing chapter ever for a TV series.
  3. The funniest thing you're likely to see all year.
  4. This is a series that goes beyond critical darling. "The Wire" is better than its own hype. If you don't watch the show, it's your fault, your loss.
  5. The breadth and ambition of "The Wire" are unrivaled and that taken cumulatively over the course of a season -- any season -- it's an astonishing display of writing, acting and storytelling that must be considered alongside the best literature and filmmaking in the modern era.
  6. Sunday's season premiere sustains the quality of the first season, continues the story line in a completely credible way, and then opens up even more possibilities for future plot developments.
  7. It's the best series on television, end of story.
  8. Self-delusion can grow fairly tiresome, in life and on TV, but what makes Amy sympathetic is that even though she almost convinces us at times that her personal fairy tale actually makes sense, we are always aware of her basic decency and, more important, her vulnerability.
  9. The most ambitious storytelling series on television. ... "The Wire" is the best show on HBO, which means it's the best show on television, period. If you want in on it, even if you missed the first go-around, you'll find a way to make sense of it all.
  10. "Battlestar Galactica" not only lives up to its sci-fi gold-standard reputation but also should be considered straight up as one of television's most appealing dramas, no matter the genre.
  11. Game of Thrones isn't afraid of change: It's the lifeblood of the series, and just one of the reasons we keep watching.
  12. Louie is the gold standard of contemporary TV comedy.
  13. For those unbowed by the lack of formula, this second season of "The Office" has rewards even greater than the first. The series is both funnier and darker -- much darker -- than last season.
  14. But this much is true: Deadwood is cocksure brilliant. David Milch, who put the glory into "NYPD Blue," is clearly and defiantly uninterested in political correctness. He just wants to make a great Western for TV. In that, he's succeeded. [4 Mar 2005, p.E1]
    • San Francisco Chronicle
  15. David's ability to hone in and magnify the most socially awkward moments in life is almost frightening. If this series didn't make you double over in laughter every couple of minutes, it would be a whole other kind of torture.
  16. Yes, the show benefits from superb performances, from series regulars, as well as guest stars like Sarah Silverman and Victor Garber. But it's the writing that puts Louie on the highest possible level of comedy. There simply is no better-written comedy on TV today.
  17. A stunning piece of television about a rogue cop and that dangerous line between effective police work and ethical transgressions. This series is brutal and frank, with little wasted energy or misdirection.
  18. What is not surprising at all about the fourth season of one of television's elite series is that Weiner continues to explore what it means to be human.
  19. There is more than enough to captivate us, and perhaps disturb us as well, in these eight stunningly provocative episodes.
  20. There are a couple of bush-league moments in the show....[But]those are minor quibbles, made even more insignificant by the extraordinary performances of Danes, Lewis, Patinkin and Baccarin.
  21. The ensemble cast is terrific and the direction lean and perfectly pitched at every turn.
  22. Broadchurch is a stunning achievement in great writing and powerful acting.
  23. Fellowes does know how to write some tasty dialogue, especially for Maggie Smith....The other performances are equally winning, but beyond that, you can't help feeling these actors are having a jolly good time with all this overblown fluff. And so will you.
  24. Sherlock is an electric marriage of great writing with great performances.
  25. The dialogue in the first two episodes of the new season crackles with brilliance.
  26. A gorgeous new documentary series on the Discovery Channel.
  27. It never shrinks from the task of surpassing its own brilliance. Even when it fails in its attempt to knock you out, Rescue Me keeps swinging, and that engenders a whole lot of admiration in a medium choking on its own safety.
  28. The series is so good that it isn't seriously harmed by its few minor flaws. Much of the dialogue is brilliantly written, revelatory and credible.
  29. Through the six episodes of the second season made available to critics, it's clear that Orange is not only as great as it was the first season, but arguably even better.... It's terrific.
  30. It's as great as ever.
  31. Soak in the visuals, listen to the mesmerizing use of sound. The writing and acting will lure you in, but have appreciation for all the details that go into making this series so great.
  32. Graham Yost, who wrote HBO's "Band of Brothers," creates deeply drawn characters who are revealed slowly over the course of an episode (and season). He's the kind of writer whose vision and touch you can trust over the long haul.
  33. But this is what a great TV series does -- it mines difficult emotional ground. It's willfully complex, putting popularity at risk. It avoids convention and takes irregular dramatic steps. With that in mind, watch Rescue Me at your own risk.
  34. Having seen the first four episodes, you need to be a part of this. You need to doff the skepticism and get on the ride.
  35. There are moments in Arrested Development, Fox's new sitcom, that are pants-wettingly funny. There are jokes and scenarios that bend you over in gleeful agony. All of a sudden, with this last new fall series offering -- hope having been beaten out of all of us -- we get one of the most hysterically ridiculous half hours on television.
  36. Just when it seemed that "Curb Your Enthusiasm," the crotchety, disdain-filled embarrassment of absurdities, was going to lose its way, Larry David seems to have found a new batch of wince-inducing scenarios to mine his comedy. [7 Sep 2007]
    • San Francisco Chronicle
  37. In the end, there will likely be a lot of unhappiness, dead bodies, same-as-it-ever-was institutional failure, lack of responsibility and the triumph of self-interest over the greater good. Not exactly a Hallmark card, but one hell of an artistic achievement.
  38. There's a vibrancy to the stories in each Boardwalk Empire episode. With echoes of the gangland mentality of "The Sopranos" and the frontier recklessness of "Deadwood," HBO seems to have found in Boardwalk Empire a fertile, sprawling new franchise series.
  39. With elements of "Wonder Years," "Cosby" and the "The Jeffersons," but also a spirit all its own, "Chris" is a sitcom that finally makes the family funny again.
  40. The characters bring us into the action and, once there, we want to follow every development.
  41. While some critics have nearly thrown themselves in front of a train to get people to watch Friday Night Lights, bending and bruising the language in praise of it, the truth is that a good argument could be made for FNL being perhaps the best drama on broadcast television. [5 Oct 2007]
    • San Francisco Chronicle
  42. The performances are even better than in previous years, with brand new but fully credible sides of Holmes’ and Watson’s characters. And the writing, by Moffat and Gatiss, is in a league by itself.
  43. Based on the premiere, the season may wind up being the show's best so far, but even if it doesn't, Mad Men beats almost everything else on TV.
  44. All of the elements that made it must-see last year are working at full throttle in season two, which kicks off Wednesday night: intrigue, deception, sex, duplicity, spy vs. spy stuff and, most of all, irony.
  45. This is one of maybe six or so elite series on all of television that you should absolutely be watching. Pitch-perfect acting (ensemble stars Jason Bateman and Jessica Walter were robbed of Emmys) and nuanced writing that staggers you with its cleverness and lunacy makes this more than a typical dysfunctional-family sitcom. [3 Nov 2004, p.E1]
    • San Francisco Chronicle
  46. The trick to Archer is that you have to listen--and watch--carefully. What can be seen and heard on the surface is outlandish, but the real genius of the show is to be found in its seemingly offhand sight gags and throwaway lines.
  47. The writing is a real thing of beauty - from the aforementioned nuance to searing workplace witticisms and pitch-perfect tone from a multitude of characters.
  48. Don Draper's journey has been and remains maddening, in a very good way as far as what makes a great TV show.
  49. New characters, new rivalry, same old high quality.
  50. Like "Justified," it's impossible to point to one element as the primary reason it works so well.
  51. Just like "The Wire," Simon has again delivered a series unlike anything you've seen on television before.
  52. All the elements Mad Men does well - the humor, the note-perfect clothing and sets, the creeping cultural change - are still there to be savored.
  53. Three more words: Oh. My. God.
  54. "City of Men" pulses with the kind of energy you don't get often on American television, and the realness of the shot-on-location scene really makes each episode feel like a minimovie.
  55. In the Flesh is of course a complex and thought-provoking allegory.
  56. Girls represents an exciting moment in television history because, like a handful of other shows (MTV's "Awkward," most notably) it not only makes great use of the medium but has the creative guts to realign it for a new century and a new generation.
  57. In a fall season surprisingly flush with good sitcoms, the best new comedy by far--and it's not that close of a race - is Modern Family on ABC.
  58. The dialogue is rich, colorful and provocative, adding to the gothic sensibilities of the series. Director Cary Joji Fukunaga makes great use of the Louisiana location, giving it as much importance to the story as the characters of Cohle and Hart. All the performances are superb, but those of McConaughey and Harrelson are in a class by themselves.
  59. The Pacific is a superb, viscerally moving and harrowing depiction of World War II and a worthy complement to "Band of Brothers" (2001).
  60. Lost has a stellar, varied cast, it is shot beautifully and it surprises more often than it makes you wince or wheeze, which, in the math of action-adventure-sci-fi-thrillers, is a good thing. [22 Sept 2004, p.E1]
    • San Francisco Chronicle
  61. There isn't a better cop show on TV right now than Southland.
  62. Top of the Lake is Jane Campion and her cast at the top of their game.
  63. Great historical documentaries not only enlighten us about the past, but tell us things about our own times as well, either directly or implicitly. Prohibition, the latest project by Ken Burns and Lynn Novick, states the implicit links between the passage of the 18th Amendment and contemporary politics so loudly, you'd have to be drunk on bathtub gin not to get the message.
  64. It's a gloriously visual fairy tale full of saturated colors and whimsical stories, the kind of romantic comedy/whodunit that should, by rights, captivate a nation starved for quirkiness and delight.
  65. The portrait of Belafonte that emerges from the film is also the portrait of the times of his life, the times of the nation's life in the past 60 years.
  66. The sweep of Rescue Me is far-reaching, and it's fearless in trying to break new ground in an old genre.
  67. The reason the show feels so real at every turn is that it is a perfect balance of dramatic realism and gentle humor.
  68. As Sutter proved in the intriguing and original first season, there's plenty more riveting storytelling to tap into as Sons of Anarchy boldly comes of age.
  69. It's a strong cast, and Byrne and Wiest continue to deliver incredibly mannered and minutely shaded performances.
  70. This series has always handled the duality of his character with masterful strokes. And it has done viewers a favor by quickly setting up the seasonlong scenario.
  71. At times, there are actual punch lines in the script and the show veers into "writerly" territory.... But make no mistake: You should overlook the shortcomings and enjoy the series on its own otherwise considerable merits, chief among them, of course, Billy Bob Thornton.
  72. The PBS film gives us greater perspective and insight, probing the conflicted attitudes toward civil rights in the Kennedy administration, and detailing the last-minute panic over Lewis' speech.
  73. The performances, nurtured by such A-list directors as Michael Apted and John Madden, are extraordinary. There isn't a clinker in the bunch.
  74. What Judd Apatow failed to accomplish in "Freaks and Geeks," his critically praised but short-lived NBC series about high school, he more than makes up for in Undeclared, a dead-on look at college life that manages to be both hilarious and sweet.
  75. There have been many great "Masterpiece" offerings over the decades, but I can't think of a single one that is as much out-and-out fun as Sherlock, a modern-dress Conan Doyle that crackles with superb writing, brilliant performances and snappy direction, and does it all while somehow managing to be oddly faithful to the original source material.
  76. What remains compelling about The Shield as it heads into its last hurrah are the gray areas and ethical gradations of the characters that have defined it.
  77. This series is one of a kind.
  78. Rescue Me may ask a lot of its viewers, but it's always a leap worth taking, and well rewarded. [13 June 2007, p.E1]
    • San Francisco Chronicle
  79. In the case of Sunny, it comes out of the gate as brilliantly twisted as ever.
  80. It is emotionally raw, harrowing, and a thing of such singular horrific beauty, it will move you, exhaust you and, almost paradoxically, thrill you at the heights television drama can attain.
  81. There are many small and wonderful dramatic accomplishments in the underappreciated gem that is Battlestar Galactica, but perhaps the most enduring is that what was conceived of as an epic space adventure has turned into a finely detailed, intimate drama.
  82. Lapine's direction is almost the star of Six by Sondheim. Not only has he used the six songs to illuminate the composer's life, he organizes years and years of interviews as if they are an ongoing conversation--which, in many ways, they are. They are the monograph of the life and art of a singular man, perfectly assembled, bit by bit, piece by piece.
  83. The first three episodes of Season 2 that AMC sent out continue that level of achievement with no evident missteps.
  84. The writing, by Weiner, direction by Scott Hornbacher and performances are, of course, top notch.
  85. The animation, overseen by art director James McDermott, is fresh, colorful and as wacky as the script.
  86. They [Rayna and Juliette], and the other characters, are anything but [one-dimensional cliches], thanks not only to the writing but also to the performances of the colorful and capable cast.
  87. The emotional authenticity of Downton Abbey continues to make it a classic.
  88. It means there's finally something good (and funny) on Tuesday nights.
  89. The entire constellation of impetuous, ambitious, determined and insecure young urbanites in Girls is realigning in the new season, but at no point in the four episodes sent to critics for review do you feel that any of it is artificial.
  90. Every performance is terrific.... While these characters are written and performed as over the top, the show also celebrates the subtle underplaying that goes into making Big Head and Gilfoyle so memorable. That variety of tone is another way in which Silicon Valley sets itself apart from most other half-hour comedies.
  91. Sons of Anarchy remains as bare-knuckled and, almost inconceivably, as funny and crass as ever. And it doesn't take Season 3 very long to ratchet up the twists
  92. State of Play is one of those series where a moment's brilliance is rivaled by the very next scene, a careening thriller that gives credence to the idea that there may not be any better format for telling an impact story than over the course of four or six hours. [16 Apr 2004, p.E1]
    • San Francisco Chronicle
  93. Rescue Me races out of the gate as confidently brilliant as ever before, wildly mixing emotions along the way.
  94. Interviews with Eddie Murphy, Joan Rivers, Sidney Poitier, Kathy Griffin, Harry Belafonte, Anne Meara, Bill Cosby and others provide ample evidence of Moms' enduring influence. Yet, even if you remember how great she was, you may find yourself wishing there were fewer testimonials and more footage of Moms performing.
  95. Again, it's back to the writing and the look. Both are superb.
  96. On the one hand, our love of the characters makes it more than possible to overlook the sloppiness of the scripts. On the other, though, it's because we do know these characters so well that we notice the inconsistencies in the first place. Again, none of this detracts significantly from our enjoyment of the series.
  97. '24' keeps you on edge like no other series. [28 Oct 2002]
    • San Francisco Chronicle
  98. Friday Night Lights, like "Battlestar Galactica," also proved initial assumptions wildly wrong and deserves credit for being vastly better than either a show about high school football or an irksome teen drama.
  99. It's in dire need of tighter editing, most of all. Yes, the images from the '30s are powerful, but after a while, their power is diminished by repetition.
  100. The highlights of Wednesday's season premiere are the return of the anger translator and an insanely brilliant take-off on the film version of "Les Miserables," which is so beautifully detailed, it may actually take you a second to realize it is a satire and the song lyrics aren't what you think they are.

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