Matthew Gilbert

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For 910 reviews, this critic has graded:
  • 44% higher than the average critic
  • 4% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 7.5 points lower than other critics. (0-100 point scale)

Matthew Gilbert's Scores

Average review score: 58
Highest review score: 100 Behind the Candelabra
Lowest review score: 0 Rules of Engagement: Season 1
Score distribution:
910 tv reviews
    • 78 Metascore
    • 80 Matthew Gilbert
    Berg has done a fine job of lifting his series above familiar teen melodrama and making it into a group portrait of a town.
    • 65 Metascore
    • 80 Matthew Gilbert
    There are a few revelations in this rich adaptation, concisely written for the screen by Lucinda Coxon.
    • 74 Metascore
    • 80 Matthew Gilbert
    The filmmakers deliver a fine balance of both elated big-gun worship and humiliated bathroom cleaning, melting-pot team-making and the cliquishness of ethnic groups.
    • 79 Metascore
    • 80 Matthew Gilbert
    Weird and jagged, inventive and energetic, Orphan Black is a small blessing. While Hollywood is busy cloning, this show about clones is a singular pleasure.
    • 66 Metascore
    • 80 Matthew Gilbert
    They make an appealing team, and it doesn't hurt that they're chasing bad guys through the breathtaking--and HDTV-ready--beauty of Hawaii. There's nothing groundbreaking going on here, just old-fashioned action-adventure fun. New old-fashioned fun, that is.
    • 76 Metascore
    • 80 Matthew Gilbert
    It remains what it has been for years--a pretty melodrama, whose characters we’ve come to know well, grounded in a thought-provoking historical moment.
    • 58 Metascore
    • 80 Matthew Gilbert
    It's funny, but painfully funny, as it skewers the world of banal sitcoms and youth-market mania. It's mean, but touching, too, as Kudrow's Valerie undergoes the humiliations of being a Nixed Big Thing. [3 June 2005, p.D1]
    • Boston Globe
    • 73 Metascore
    • 80 Matthew Gilbert
    The action is intense in "Sleeper Cell," and each episode includes at least one stunning moment of violence or betrayal. But character depth isn't sacrificed to keep the pace moving, and there are valuable calms between the storms.
    • 89 Metascore
    • 80 Matthew Gilbert
    Why watch The Wire if it's such tough-going--so difficult to follow and then, once followed, so pessimistic? Because it offers the kind of earned understanding that leads to progress.
    • 82 Metascore
    • 80 Matthew Gilbert
    The tone is satirical, and the look mixes noir with candy-colored latex; but the characters are sweet and extremely human. [8 Nov 2001, p.C20]
    • Boston Globe
    • 54 Metascore
    • 80 Matthew Gilbert
    The ABC show... is one of the pleasures of the new season, although it may strike some viewers as too conceptually loose to love.
    • 71 Metascore
    • 80 Matthew Gilbert
    Occasionally, logic is forsaken. But still The Escape Artist maintains its suspense despite the flaws, thanks to rich acting and smart direction.
    • 60 Metascore
    • 80 Matthew Gilbert
    You don't like comedy that pushes the boundaries of good taste, you have no business here. But the material is presented with enough comic skill, cultural resonance, and clever mockery to rise above.
    • 79 Metascore
    • 80 Matthew Gilbert
    The Wire is a cop drama from top to bottom. It does take a systemic view of the issue, like "Traffic," Steven Soderbergh's drug-trade saga. But it never sacrifices drama and character for lecture. [31 May 2002, p.E14]
    • Boston Globe
    • 66 Metascore
    • 80 Matthew Gilbert
    All of the characters are misfits, and the pleasure of Party Down is watching the actors riff off one another as they go to extremes.
    • 73 Metascore
    • 80 Matthew Gilbert
    Orphan Black has the potential to be memorable entertainment, if they [creators Graeme Manson and John Fawcett] can continue to deliver each and every plot development with a human touch.
    • 73 Metascore
    • 80 Matthew Gilbert
    Collision is a satisfying emotional journey through the twists, turns, and overpasses of a dozen or so lives.
    • 89 Metascore
    • 80 Matthew Gilbert
    ''24" is still an addictive amusement park ride of a show.
    • 49 Metascore
    • 80 Matthew Gilbert
    The script is by novelist and essayist Shalom Auslander, who created the show, and it is remarkably tight, thought-provoking, literary, and jeweled with absurdist wit.
    • 81 Metascore
    • 80 Matthew Gilbert
    Based on the pilot, [the] mystery promises to be surprising, psychological, and addictive.
    • 78 Metascore
    • 80 Matthew Gilbert
    I like Archer because it succeeds where so many of the snarky animated series tend to fail. Reed and his writers and voice actors balance all the pop satire and raunch with a strong sense of the characters.
    • 87 Metascore
    • 80 Matthew Gilbert
    Truly there can be something rich and lovely about hospitals, and there is something rich and lovely about Boston Med.
    • 77 Metascore
    • 80 Matthew Gilbert
    It's a more visceral impression of a band on fire, and as such it offers plenty of satisfaction.
    • 75 Metascore
    • 80 Matthew Gilbert
    A surprisingly stylish adaptation of a story that would seem to be played out after so many incarnations on the small and big screens. If Smallville can keep its supernatural plots engaging, and avoid focusing solely on Clark Kent's familiar teen alienation, it could evolve into a top-tier WB series. [16 Oct 2001, p.D16]
    • Boston Globe
    • 54 Metascore
    • 80 Matthew Gilbert
    While it's not the triumph that "Downton" was, it's a special, lovely miniseries that lingers in your imagination like a richly drawn memoir.
    • 72 Metascore
    • 80 Matthew Gilbert
    The series is gripping, nicely styled, and smartly written, with a solid leading performance by Matthew Macfadyen as Inspector Edmund Reid, the head of H Division.
    • 71 Metascore
    • 80 Matthew Gilbert
    No, it's not "groundbreaking," as HBO calls its programming. And I doubt it will give the ratings-slipping channel its much-needed hit. But it will probably find a small, loyal, "Deadwood"-size audience that enjoys a good serial melodrama charged up by a villainess named Atia who turns mothering into something akin to pimping. [26 Aug 2005, p.D1]
    • Boston Globe
    • 66 Metascore
    • 80 Matthew Gilbert
    It’s honest, credible, trustworthy storytelling.
    • 75 Metascore
    • 80 Matthew Gilbert
    Every so often, a show arrives and instantly feels lived-in, like a comfortable old couch with slight depressions in all the right places. FX's Terriers is one of those shows, beautifully torn and frayed from the get-go.
    • 69 Metascore
    • 80 Matthew Gilbert
    Like “Ray Donovan,” Billions is addictive, bold, amusing, well-crafted, and rather facile, too.
    • 65 Metascore
    • 80 Matthew Gilbert
    An eerie -- and excellent -- new series that makes ''24" look more than ever like a broadly drawn comic strip.
    • 70 Metascore
    • 80 Matthew Gilbert
    Never mind the clichés, because Duchovny makes his character worth watching, as he swaggers from bad predicament to bad predicament, pretending not to care about his life anymore.
    • tbd Metascore
    • 80 Matthew Gilbert
    The story races forward happily and aggressively, but none of the plot strands among the many characters is ever dropped or given short shrift.
    • 83 Metascore
    • 80 Matthew Gilbert
    Based on the first two episodes of season two, "24" returns tonight with the promise of another year of ambitious, outrageous, and addictive TV drama. [29 Oct 2002]
    • Boston Globe
    • 74 Metascore
    • 80 Matthew Gilbert
    British actress Lena Headey makes Sarah into the heart and soul of this series. Without Headey and her maternal magnetism, Terminator: The Sarah Connor Chronicles would probably deteriorate into a nonstop series of effects-laden fight scenes that's as cold and grim as NBC's "Bionic Woman" remake.
    • 78 Metascore
    • 80 Matthew Gilbert
    It’s less brooding than its progenitor, less emotionally wrenching (at least at first), and its references to the “Breaking Bad” mythology could ultimately become tiresome. But it’s also entertaining and smart and, like its piteous semi-hero, persuasive.
    • 81 Metascore
    • 80 Matthew Gilbert
    The show nonetheless manages to stay dignified and realistic (in a reality-TV kind of way).
    • 73 Metascore
    • 80 Matthew Gilbert
    What I like about Lone Star, what could make it the strongest TV newcomer of the season, is the ways in which it differs from classic nighttime melodramas. The show is as much a bittersweet character study of con man Bob Allen as it is a new spin on the Ewings.
    • 86 Metascore
    • 80 Matthew Gilbert
    The plots are really secondary to the show's winning, easy-going style and its bittersweet tone. This isn't John Cassavetes, but there's something of the director's spaciously paced, slightly improvised technique about the way the men on the show interact as they take their regular hikes and breakfast at the diner.
    • 74 Metascore
    • 80 Matthew Gilbert
    As with a number of moments in the completely enjoyable Family Tree, I’m not sure how the actors kept themselves from laughing.
    • 67 Metascore
    • 80 Matthew Gilbert
    It’s as candid and absorbing as reality TV isn’t.
    • 64 Metascore
    • 80 Matthew Gilbert
    HBO sent out three advance episodes of Bored to Death, and by the third one (also the best one) I felt confident that Schwartzman was exactly where he belongs--in Brooklyn, in a cafe, watching, and worrying.
    • 72 Metascore
    • 80 Matthew Gilbert
    Like ''Lost"... the mystery is provocatively open-ended and, assuming the writing continues to be good, absorbing.
    • 75 Metascore
    • 80 Matthew Gilbert
    The show is an intelligent addition to the Fox lineup, with both the broad canvas of "The Wire" and the street procedural of "NYPD Blue" in its DNA.
    • 71 Metascore
    • 80 Matthew Gilbert
    The show has a scruffy, adolescent sweetness with a seeming insensitivity to people with physical disabilities that ultimately feels quite sensitive.
    • 76 Metascore
    • 80 Matthew Gilbert
    It's beautifully filmed in and around Washington, D.C., it's well-acted, and it's cleverly written by Beau Willimon.

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