San Francisco Chronicle's Scores

For 1,454 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 1.6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 65
Highest review score: 100 Arrested Development: Season 1
Lowest review score: 0 The Bedford Diaries: Season 1
Score distribution:
  1. Mixed: 0 out of 810
  2. Negative: 0 out of 810
810 tv reviews
  1. The show is good but not great. It feels redundant because it is - two times over, if you count the movie. There's no denying that's a huge drawback, no matter how brooding Gedrick and Welliver get. And, from a pure entertainment stand point, it's less satisfying to see Falcone's wife and family implode than it is to see what's happening with Tony Soprano's home life. Sorry, but it's true.
    • 55 Metascore
    • 75 Critic Score
    The supernatural genre is one of the toughest to crack in TV, but The Others appears to be a sharper, better produced entry than most of its predecessors.
    • 84 Metascore
    • 100 Critic Score
    Extraordinary ... Scorsese uses Dylan himself as the narrator of the film, which follows about six years of his career. From the stunning opening sequence of Dylan braying "Like a Rolling Stone" at a 1966 British concert, "No Direction Home" brings it all back home, showing this remarkable young man, wise and cunning beyond his years, impish, impudent, frequently high and impossibly brilliant. [26 Sep 2005, p.C1]
    • San Francisco Chronicle
  2. All of the zany genius of Heller’s 1961 best-selling novel has been sapped from Hulu’s new six-episode adaptation, which begins streaming Friday, May 17. And the humor is nowhere to be found.
  3. In its whirling, time-fractured narrative, “Fosse/Verdon” is as ruthless and truth-seeking about its principals as the couple were about the shows and films they worked on together and separately.
  4. The show may make a point of not aping or mimicking Trump, but its gleeful celebration of pragmatism and hypocrisy, of self-serving politics bent on power at any cost, and dismissive scorn for institutions great and small is perfectly attuned to the times. It almost hurts to laugh. But laugh, helplessly and abundantly, you do.
  5. The result is that Shrill is not shrill, but it’s often blah and boring.
  6. The documentary is less focused on finger-pointing than Jackson fans or the late singer’s estate might think. It’s more focused on hearing these men tell and tell until their minds can’t bear to tell anymore. It’s more focused on changing up the still-unfolding post-Harvey Weinstein shift in our reactions to victims’ stories of alleged abuse.
  7. In the end, every cliché and nearly every expectation that comes in a typical prison film is stripped away. What’s left is an unshakable performance, and a sense that you’ve seen a piece of cinematic art that isn’t fiction or nonfiction, but somewhere in between.
  8. The Umbrella Academy isn’t so much a puzzle that needs to be solved as a long wait for a series of explanations. At least it’s an entertaining wait. Blackman’s approach is less surreal than Way’s writing, but the density of the world-building isn’t lost. The isolated moments are often brilliant.
  9. It’s fascinating. Going in, it might be hard to imagine how four long hours were needed to explore the nuances and implications of the single act that made Lorena Bobbitt famous. But four hours later, it all make sense.
  10. The only bright spots are the aforementioned Buscemi, Radcliffe’s occasionally charming oddball behavior (he loves to squirt mustard packets into his mouth to celebrate a job well done), and a man named Mike Dunston. ... It strains so much for clever zings, then becomes bulky when it devotes episode-long subplots to killing Bill Maher by exploding his penis, or humiliating the executive archangel (Karan Soni) by showing him tending to God after the deity’s bouts of diarrhea.
  11. What Russian Doll has is heart--but heart without cheap sentiment or bosh. ... It is matter-of-fact in acknowledging modern failure and disillusion, without ever trying to nail it down, avoiding the tones of hectoring obviousness that mars recent items-in-vogue like “BlackKkKlansman” and the bratty jabber of Aaron Sorkin scripts. In a soothing, down-to-earth way that doesn’t have all the answers, Lyonne and company show us how to deal with the deaths, literal and figurative, we face every day.
  12. “I Am the Night” is a low-rent “Chinatown”-like series that’s gratuitously old-hat, but pretty watchable despite a tortured self-awareness of its own decrepitud
  13. Cheadle and Hall approach the roles with a lack of piousness, infesting their characters with humorous bits of business that almost always land. ... One feels Hall’s anger, but like Richard Pryor, she mines a bleak and tense situation for all its comic potential--and the results are perpetually perceptive.
  14. The performances deal in the kind of insipid caricaturing on the order of the Millennial who confuses polo with polio in “Three Billboards.”
  15. Schooled contains none of the mother ship’s bellows and whistles, thus laying bare its own conventionality.
  16. The third season of Nick Pizzolatto’s anthology series swings back like a pendulum, losing the absurdity of the second season for an approach that’s considerably more staid. ... But season three powers through with wonderfully dense visuals, a layered story and an absolute powerhouse performance by Academy Award winner Mahershala Ali, who portrays brooding Detective Wayne Hays in three time periods.
  17. Could Netflix do justice to the books? The answer: “Yes, and then some” — an American idiom which here means, “Binge it; here’s something which goes above and beyond mere ‘goodness’ — and reaches into the realm of knockout profundity for kids and adults alike.”
  18. Much of the show is a conscious bowdlerization of the epic Thackeray novel. What is lost in the wry and fat prose, the skewering of petty gnat-sized gentry, is regained in the lean performances of the perpetually suffering actors, especially Cooke’s Becky Sharp.
  19. Springsteen’s attempts to conjure up a spell, while they probably worked on the stage, are constantly shattered by Thom Zimny’s cuts and disengaged zooms.
  20. Like her, it is funny, vivacious, hugely likable, and not infrequently error-prone; like her, it shrugs off any missteps and swings right back into the business of being delightful.
  21. It’s to the credit of everyone involved (especially director of photography Jessica Lee Gagné and her love of humble Kelly Reichardt grays) that they stick to the story, tell it with not an ounce of bombast and leave this post-Altman purgatory the way they found it. Some stones unturned, but otherwise a hollow, puttering husk of existence is left thoroughly gleaned.
  22. It’s a strong showcase for Julia Roberts as an actress but a bolder move for her as executive producer. Homecoming is the opposite of a star vehicle (like, say, Amazon Prime’s recent “Jack Ryan”), focusing more on the story than characters. Nothing about it feels self-indulgent.
  23. They are smothered by the ghost of Frank/Spacey, as well as a stifling atmosphere that’s partly a combo of the weightless writing and Netflix’s digital gloss. It was already stuffy with Spacey around, but without his Foghorn Leghorn hamming to distract us, it has become even more unbearable.
  24. Between Geena (Maya Lynne Robinson), DJ’s wife, and Darlene, the show still features wise women with acerbic wit and zero tolerance for idiocy. Yes, in some ways, Roseanne will never be replaced. But in other ways, she already has been.
  25. As a series, it’s a chore to watch. There’s nothing true or telling about the 40-something generation it casts in a ridiculously self-indulgent glow. If Camping serves any function, it’s as a summit on human failure, so the viewers can feel a little better about their own flaws.
  26. Fans of the show, and they were legion, are going to be thrilled to have everyone back--a possible romance between Jim and Phyllis is a welcome story line--and that may be enough for some loyal viewers. But as great as it is to see the cast reassembled and to witness Brown’s righteous fury, the show’s rhythms are creaky and lines are stale by the time they make it to air.
  27. Decent, scrupulous and caring, Jeff Pickles is the essence of good--a little too good. Even the mild-mannered may want to slap the sanctity out of him. But most will want to watch Carrey deliver a fine performance in a weirdly engaging series. Building a comedy around the death of a child is risky, but Carrey makes it winning.
  28. The series isn’t exactly a thrill ride, at least so far, and isn’t likely to scare many viewers. Instead, it settles into a creepy, occasionally absurdly funny dystopian drama with some chase scenes and twists, which is a pretty smart way for the franchise to evolve.

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