San Francisco Chronicle's Scores

For 1,586 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 2 points lower than other critics. (0-100 point scale)
Average TV Show review score: 65
Highest review score: 100 Landscapers: Season 1
Lowest review score: 0 Z Nation: Season 1
Score distribution:
  1. Mixed: 0 out of 890
  2. Negative: 0 out of 890
890 tv reviews
  1. “Pistol” conjures an aesthetic — chaotic, jittery, improvised — that nicely matches its subject. It also includes a number of female characters generally far saner than their male counterparts.
  2. Two takeaways seem undeniable. The first is that Musk has overhyped the technology and presented aspiration as accomplished fact. ... The second is that a whole happy world of self-driving cars is a long way off.
  3. Overripe at times, it leaves room for enough mystery and respect for the unknown to keep mind and soul working in tandem toward a heady exploration of faith and doubt. Claire Danes is radiant as Cora Seaborne.
  4. This TV adaptation is a soap opera at heart, but its emotional intelligence elevates the show into something really worth talking about.
  5. With its “Twilight”-level trite dialogue and worldview, lack of adventures and alleged love story that is more like a grooming story, this show is so bad on every level that it is hard to pinpoint blame.
  6. Some 10-episode shows seem stretched out, but “The Lincoln Lawyer” is fast-moving and packed with incident. Yet Mickey’s personal life is also well developed.
  7. “The Staircase” is exceptionally smart television, an examination of truth, guilt and self-delusion that crackles with ideas and great performances.
  8. While existing within that canon, “Star Trek: Strange New Worlds” leverages audience familiarity in a manner that’s welcoming rather than suffocating. As the title implies, this is a loving throwback to the spirit of exploration and derring-do so intrinsic to the brand over the past six decades (right down to Mount reciting a version of the “Space, the final frontier” narration that both Shatner and Stewart had a go at in previous incarnations), while pointing toward a future full of possibilities.
  9. Barely likable supporting characters and a tendency toward juvenile humor make the first two episodes a hard sell. But the show warms up enough in the third episode that we can envision it becoming an amiable workplace comedy, somewhere on the sweetness scale between “30 Rock” and “Ted Lasso.”
  10. It’s an endless, uninflected mood piece, with a mystery that is so long in unraveling that by the time it’s over, no one cares.
  11. “The Offer” is so entertaining — and for 10 whole episodes! — that you might not care if it’s true or not.
  12. It’s all very busy and often superintense. There are moments of reflection, though, plus credible relationship development and effective comedy. And the show promotes intelligence, rather than insulting the audience’s.
  13. “Heartstopper” captures the joys and agonies of being a teen, when every stray text can make a profound impact, and being able to announce you are “going out with” someone means everything.
  14. “Gaslit,” created by Robbie Pickering, is the rare show that has loads of fun bringing history into sharper focus. It takes the names you know, and may have read about, and shows why you should care.
  15. A lot of people do good work on “Open Range.” If only it provided a little more to hold onto.
  16. Forgive the dip into cynicism, but even Switzerland would roll its eyes after a few hours of curated Kardashian drama.
  17. “Slow Horses” melds a quick wit and vivid personality with a propulsive narrative that makes you want to seek out the source novels.
    • 60 Metascore
    • 75 Critic Score
    The medical drama is leavened by some nice comic flourishes.
  18. “Moon Knight” is all about reveling in controlled chaos, as well as superb acting, satisfying action, meticulous production design and measured strains of comedy and horror.
  19. “The Girl From Plainville” starts to feel a bit like a “Law & Order” rerun once it enters the courtroom (not that anything is wrong with “Law & Order” reruns). ... To the series’ credit, it doesn’t sensationalize a case that’s already hard to believe. At the story’s core remains the kind of mystery that resists easy solutions, the kind that aren’t provided and don’t belong here.
    • 79 Metascore
    • 75 Critic Score
    It's a creaky TV concept, but stylishly freshened by Caron. [12 Sep 1999]
    • San Francisco Chronicle
  20. Where streaming shows often just pad and repeat, this one takes every opportunity to dig deeper into the human condition. And season one doesn’t even get to World War II! “Pachinko” leaves us with many dangling threads, yet still richly satisfies with testimony to history’s impact on people — and people’s determination to be themselves.
    • 61 Metascore
    • 50 Critic Score
    “Halo” may be a perfectly competent action story in space, but it feels like a lesser version of things that have come before, including its own source material.
  21. The series fully captures the Monopoly-money quality of the startup era, the sense that nothing is quite real and certainly not relatable to most people on the planet. If this is a little sickening, it can also be wildly entertaining.
  22. It’s a political drama that’s studiedly nonpartisan. Whether that makes the show universal, or too cautious to risk possible future seasons, depends on which side you’re coming from.
  23. One might wonder if he could have slimmed the story down a bit, or if a couple more episodes would have provided room to roam. But there’s more than enough here to recommend. The interplay between Jackson and Fishback is as natural as can be, yielding an unlikely companionship based in love and trust. On a broader scale, this is a fully fleshed-out portrait of Black Americans.
  24. Bottom line, if you love or are fascinated by the work of Andy Warhol, you’ll be delighted by “The Andy Warhol Diaries.” If you’re not in that category, you can watch it, anyway, but keep the remote control nearby. A little fast-forward wouldn’t hurt, and it might help.
  25. “Winning Time” is like those vintage Lakers on a fast break: quick-moving, freewheeling, creative, packed with colorful characters and occasionally rising to the level of art. It is also a foul-mouthed and sex-fueled titanic clash between alpha male super-egos (and some alpha females as well).
  26. After ratcheting up to 10 early in the first episode, this show’s stress levels rarely fall below an 8.5. 15 minutes cannot go by without some twist, revelation or misdirect. Although you never know what’s coming, you always know something is. By episode six, these “surprises” lose all impact.
  27. John Cameron Mitchell and Kate McKinnon own “Joe vs. Carole” from the start. They turn middling and well-worn material into a deeply engaging human (and feline) drama.

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