For 771 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 7.7 points lower than other critics. (0-100 point scale)

Matthew Gilbert's Scores

  • TV
Average review score: 57
Highest review score: 100 Mad Men: Season 6
Lowest review score: 0 Sons Of Hollywood: Season 1
Score distribution:
771 tv reviews
    • 71 Metascore
    • 70 Matthew Gilbert
    It's a fluffy hour of flimflam, spun with silk and told with a wink.
    • 62 Metascore
    • 70 Matthew Gilbert
    The Office is less breezy and more warped than almost any sitcom on the American networks. For viewers accustomed to shiny, happy escapism, NBC's The Office speaks a new comic language of glum realism. Like the original, which was co-created by Stephen Merchant and the show's star, Ricky Gervais, it is a queasy portrait of corporate depression, characters who rarely smile, and bleak irony. It is funny, but slowly and painfully so.
    • 68 Metascore
    • 70 Matthew Gilbert
    By the way, I don't mean the word "trash" as an insult. I enjoy well-made, quick-witted trash, and if you do, too, then you will find "Rome" as irresistible as ever.
    • 69 Metascore
    • 70 Matthew Gilbert
    The cases on "Boston Legal" will inevitably become ridiculous; that's the trend in Kelley's shows, as he pushes the envelope beyond reason. But the show's regular cast has great promise. [2 Oct 2004]
    • 70 Metascore
    • 70 Matthew Gilbert
    This new Bravo series is definitely in, if you find amusement in fierce fashionistas and extravagant clothing that only skeletal models will ever wear. [1 Dec 2004]
    • 86 Metascore
    • 70 Matthew Gilbert
    One of TV's more interesting reality competitions. ... This season, the series promises to be less revelatory but equally absorbing. [7 Dec 2005]
    • 73 Metascore
    • 70 Matthew Gilbert
    The gang of five -- star Vince, brother Johnny Drama, dude-in-waiting Turtle, manager Eric, and agent Ari -- has jelled into a dynamic unit.
    • 55 Metascore
    • 70 Matthew Gilbert
    An engaging crime show that borrows plenty from the ''CSI" franchise but adds a layer of light character drama.
    • 64 Metascore
    • 70 Matthew Gilbert
    If the writers can keep avoiding pitfalls, this surprisingly pleasing show just may signify the end of the ''Seinfeld" curse.
    • 68 Metascore
    • 70 Matthew Gilbert
    "Sons & Daughters" is a sitcom whose method -- a script embellished by actors at play -- celebrates the unexpected comedy that can emerge among talented people.
    • 59 Metascore
    • 70 Matthew Gilbert
    ''Rollergirls" is a colorful piece of reality TV.
    • 59 Metascore
    • 70 Matthew Gilbert
    A fine way to pass a half hour.
    • 67 Metascore
    • 70 Matthew Gilbert
    There's a lot to enjoy... But "30 Rock" is more sitcommy than most of the single-camera sitcoms on the air now, and it has none of the sharp bite of "The Larry Sanders Show."
    • 57 Metascore
    • 70 Matthew Gilbert
    Fox's strongest newcomer this season.
    • 75 Metascore
    • 70 Matthew Gilbert
    This New York legal drama doesn't have the living, breathing dimensionality and character depth of FX's finest, including "Rescue Me" and "The Shield," on which Close guest starred in 2005. But it's a tense fun ride like the better John Grisham movies.
    • 75 Metascore
    • 70 Matthew Gilbert
    America Ferrera is instantly and consistently likable as Betty.
    • 75 Metascore
    • 70 Matthew Gilbert
    "Brotherhood" ... may not be one of the all-time great crime shows, but it's certainly a very good one that improves with each episode.
    • 68 Metascore
    • 70 Matthew Gilbert
    ''Sit Down Comedy" is really about the amiable chatter, with only a passing nod at insight.
    • 79 Metascore
    • 70 Matthew Gilbert
    Written by Gwyneth Hughes, the script perhaps reaches too far and falls short. The whole is somehow less than the sum of its parts. And yet Five Days rewards with enough gripping moments to make it worth investigating.
    • 63 Metascore
    • 70 Matthew Gilbert
    It's a light half-hour of adults acting like teens, and teens acting like teens, that won't trick you into thinking or rethinking much of anything important.
    • 83 Metascore
    • 70 Matthew Gilbert
    I admire this show--it's so original, and sequences such as the "Sound of Music" goof are right on. But I admire it more than I enjoy it.
    • 67 Metascore
    • 70 Matthew Gilbert
    Canterbury has promise but her law needs a lot of work.
    • 64 Metascore
    • 70 Matthew Gilbert
    Coster-Waldau makes John so alien and distant as to be annoyingly inscrutable. But in Thursday's episode, we begin to learn more particulars about John's history, and how he maintains his secret. And that's when Coster-Waldau becomes more vivid and the show begins to rise above its silly murder-of-the-week plots
    • 68 Metascore
    • 70 Matthew Gilbert
    "Flight of the Conchords" is one of the few TV comedies that truly can be called unique.
    • 74 Metascore
    • 70 Matthew Gilbert
    It's good, not great, and tonight's strong pilot gives way next week to a noticeably less stellar hour.
    • 77 Metascore
    • 70 Matthew Gilbert
    Aliens in America is decent, and quiet, and genuinely sweet.
    • 54 Metascore
    • 70 Matthew Gilbert
    Your feelings about Gossip Girl will depend on just how guilty you are willing to feel about your guilty pleasures. It can be entertaining to watch adults throw around money, attitude, and alcohol on soap operas; it can be grotesque to see teenagers doing the same things.
    • 77 Metascore
    • 70 Matthew Gilbert
    You feel as if you're right there in the room with the characters for a time, during which their true selves emerge slowly but surely.
    • 57 Metascore
    • 70 Matthew Gilbert
    A sleekly engaging pilot that, with the right character development, could turn into a sleekly engaging series.
    • 79 Metascore
    • 70 Matthew Gilbert
    It's a welcome addition to nonfiction television and a loyal friend to the radio show.
    • 58 Metascore
    • 70 Matthew Gilbert
    On The Singing Bee, it's impossible to rally for or against the many folks who hurry on and off stage, and rallying is a critical part of the fun of these mindless game shows.
    • 61 Metascore
    • 70 Matthew Gilbert
    Coughlan smartly underplays Jenny's reaction to the thought of losing her friend. But Nagle and her writers plug a farcical charge into the show that is quickly annoying.
    • 67 Metascore
    • 70 Matthew Gilbert
    I'm on board with Tara, but so far mostly for the supporting characters, whose number expands in the coming weeks to include a self-empowered "Vita-self" saleswoman who is overly curious about Tara's disorder.
    • 75 Metascore
    • 70 Matthew Gilbert
    It's a likable one, marred only by some awkward abridgement.
    • 65 Metascore
    • 70 Matthew Gilbert
    The CBS show has very little dramatic heft or distinction, but it's wily and brisk enough to engage you for an hour.
    • 58 Metascore
    • 70 Matthew Gilbert
    The show has the makings of a more sincere, "Gilmore Girls"-like take on female bonding.
    • 71 Metascore
    • 70 Matthew Gilbert
    I can't say you'll want to follow The No. 1 Ladies' Detective Agency religiously, like so many other HBO efforts, but it is an easy-to-like distraction.
    • 58 Metascore
    • 70 Matthew Gilbert
    Kings does dip in and out of predictability, when familiar Spelling soap operatics and political machinations break through the show's unique surface. But it still is a fascinating effort.
    • 64 Metascore
    • 70 Matthew Gilbert
    No, it's not "quality cable TV" or Top 10 list material, and it's marred by lapses into character cutesiness. But still, I liked it. It's likable.
    • 72 Metascore
    • 70 Matthew Gilbert
    It’s a coming of age comedy that’s raunchy and sophomoric, but, as is typical with Apatow products, it’s also character-based and at times kind of touching.
    • 66 Metascore
    • 70 Matthew Gilbert
    This promising series is really about a failed optimist, driven by the recession and his own midlife depression to sell his body to rich ladies.
    • 82 Metascore
    • 70 Matthew Gilbert
    Little Dorrit has so many virtues--indelible performances, stirring pathos, and an emotional and psychological heft unusual for Dickens--that you can forgive its one significant flaw.
    • 71 Metascore
    • 70 Matthew Gilbert
    The pieces don't tend to add up to much; the suspects and victims often slip out of custody too easily; and each episode's crimes dovetail with some predictability. These aren't brain teasers. Still, the series has great hypnotic allure, as the murders and deaths drive Wallander further into himself.
    • 77 Metascore
    • 70 Matthew Gilbert
    It's a generally pleasing but flawed production.
    • 62 Metascore
    • 70 Matthew Gilbert
    The one-liners are broad, the plots preposterous. And yet it all works in a lighthearted-summer-fare kind of way, helped along with almost pornographic images of Hamptons wealth.
    • 64 Metascore
    • 70 Matthew Gilbert
    Lie to Me, based on the real-life lie-detection work of Dr. Paul Ekman, doesn't extend much beyond its genre's borders. But if you're fascinated by the poker-game elements of crime-solving and a man obsessed with "tells," you may connect with this show.
    • 69 Metascore
    • 70 Matthew Gilbert
    The show is what it is--no surprises, no disappointments.
    • 59 Metascore
    • 70 Matthew Gilbert
    Parks and Recreation has many distinctions, not least of all the hugely talented Poehler from "Saturday Night Live," who promises to develop Leslie slowly, without the haste required in sketch comedy. And the show has the potential to become a flip, witty political allegory.
    • 59 Metascore
    • 70 Matthew Gilbert
    I think How to Make It in America has a lot going for it, if show creator Ian Edelman can keep from indulging in New York hipster cliches.
    • 59 Metascore
    • 70 Matthew Gilbert
    It’s all about the crimes, the technology, the guns, and, mostly about not having--or wanting--to think too much.
    • 53 Metascore
    • 70 Matthew Gilbert
    This farcical new sitcom won’t blow you away so much as keep you lightly amused.
    • 53 Metascore
    • 70 Matthew Gilbert
    Even as you may be tempted on occasion to roll (or close) your eyes, it’s hard not to be drawn in at least partway.
    • 69 Metascore
    • 70 Matthew Gilbert
    The show is overstuffed with political and pop culture jokes about everything from 9/11 to “The Breakfast Club,’’ but they’re always secondary to the warm ensemble character comedy. The free-floating irony isn’t terminal.
    • 57 Metascore
    • 70 Matthew Gilbert
    So I "like" the new Melrose Place, in that I think it has the potential to be as addictive, and phony, as a can of Pringles potato crisps.
    • 68 Metascore
    • 70 Matthew Gilbert
    The new ABC show is significantly better than its corny title promises.
    • 64 Metascore
    • 70 Matthew Gilbert
    The mood is bright and whimsical--easy to take and just as easy to forget.
    • 70 Metascore
    • 70 Matthew Gilbert
    Louie isn't a learning-and-hugging show by any means; but amid all of C.K.'s cocky bluster and politically incorrect language, there are plenty of rich moments of respite, when people with polarized world views actually hear and like one another.
    • 64 Metascore
    • 70 Matthew Gilbert
    Ultimately, though, your feelings about Passmore will determine whether or not you cotton to The Glades. The show rides on his personality, which I found likable enough.
    • 60 Metascore
    • 70 Matthew Gilbert
    A week between each episode is highly recommended. But in small doses, his shamelessness, persistence, and humor are remarkable.
    • 65 Metascore
    • 70 Matthew Gilbert
    The pilot is entertainingly lighthearted, but in a twist that I won't spoil here, a serialized back story begins to surface that could push the show down a more convoluted path.
    • 56 Metascore
    • 70 Matthew Gilbert
    For the most part, the procedural material is boilerplate stuff we've seen zillions of times already on "Law & Order," with right turns and smoking guns and unexpected witnesses. The pleasure to be found on the show is in watching Tierney and Morrow riff off each other like very competitive tennis players.
    • 70 Metascore
    • 70 Matthew Gilbert
    If not for the narrative clunkiness, Blue Bloods has the potential to be a juicy multigenerational family drama set in a moodily evoked New York, with Selleck's furrier-than-ever mustache as a bonus.
    • 63 Metascore
    • 70 Matthew Gilbert
    Ultimately, Detroit 1-8-7, ABC's new cop series just may have enough forward thrust and raw emotion to take off.
    • 81 Metascore
    • 70 Matthew Gilbert
    The cinematography is beautiful, and there seems to be nowhere around the Big Apple's tents and trailers that the camera won't go. There's just not much in the way of drama here.
    • 77 Metascore
    • 70 Matthew Gilbert
    Tyler, Lopez, and Randy Jackson showed some promise last night, for a few reasons. First of all, Idol works better with three judges than four. You could already feel a warm triangular bond developing between Jackson, Tyler, and Lopez.
    • 54 Metascore
    • 70 Matthew Gilbert
    And even though the potential for irritation feels high--everyone but Gene is a smidge too sad-sacky and whiny--there's something about Bob's that feels fresh, sweet even.
    • 55 Metascore
    • 70 Matthew Gilbert
    It's a happy mix, a breezy, playful half-hour that has the potential to open up into something special. Only time will tell if Breaking In can break out.
    • 52 Metascore
    • 70 Matthew Gilbert
    If you're a committed Riversian, and I am, Joan & Melissa: Joan Knows Best? is an enjoyably lighthearted hour of prime Joan shtick.
    • 63 Metascore
    • 70 Matthew Gilbert
    It has a set of distinctive actors, a minimum of punch-line mania, and a script that is occasionally charming. The characters actually have the potential to become three-dimensional.
    • 69 Metascore
    • 70 Matthew Gilbert
    Haynes takes a few melodramatic moments too many feet over the top--the injuring of Veda's throat, for example, which rises into an almost laughable delirium. But those excesses are forgivable in this otherwise masterful, faithful, and deluxe adaptation.
    • 73 Metascore
    • 70 Matthew Gilbert
    With only three one-hour episodes, screenwriter Heidi Thomas needed more time to do full justice to the large cast of characters and the many historical and melodramatic story lines she set up.
    • 57 Metascore
    • 70 Matthew Gilbert
    Turns out Happy Endings is one of those rare TV cases of rising above, as the writing and the ensemble energy trump the stale premise.
    • 75 Metascore
    • 70 Matthew Gilbert
    If you're an avid fan of any of them, there's probably something here for you, especially if you like to monitor subtext.
    • 73 Metascore
    • 70 Matthew Gilbert
    This is a place holder that looks a little like an infomercial. But The Glee Project, has heart, too, as it takes you behind the slick, overproduced veneer that is "Glee."
    • 63 Metascore
    • 70 Matthew Gilbert
    The show is just an undemanding, entertaining, and sometimes whimsical ride. Yup, it's likable.
    • 51 Metascore
    • 70 Matthew Gilbert
    These guys come up with twisted shorts and one longer and even more twisted feature per episode, some of them actual man-on-the-street interviews, some of them scripted, and most of them funny.
    • 67 Metascore
    • 70 Matthew Gilbert
    The show has a nice sense of innocence, thanks to Wood's gentle performance and the theme of personal transformation; but it is also filled with uneven sexual and scatological jokes, delivered with a dog-like lack of modesty, so viewer be warned. For some, that level of humor is a deal breaker.
    • 64 Metascore
    • 70 Matthew Gilbert
    [Rudolph's] new character brings a wackier element to the show, which undermines the fine authenticity that Spivey initially set up. Now Rudolph has a more expandable role, I suppose, but she is also less connected to the other characters. The whole Ava talk show business feels like it belongs in a more satirical sitcom of its own.
    • 65 Metascore
    • 70 Matthew Gilbert
    What distinguishes the good ones are colorful performances, scandalous twists, and the age-old reminder that money and power can't buy love--all of which Political Animals has.
    • 66 Metascore
    • 70 Matthew Gilbert
    It helps Perry that Silveri has surrounded him with a large ensemble filled with potential.
    • 60 Metascore
    • 70 Matthew Gilbert
    The New Normal is sweet-natured, in the way the characters mingle their lives together; but the jokes, they are mighty spotty.
    • 64 Metascore
    • 70 Matthew Gilbert
    Will the writing of the crimes continue to be as strong as it was on "The Closer"? I'm cautiously optimistic.
    • 57 Metascore
    • 70 Matthew Gilbert
    Bullet in the Face is hit or miss, but in a comedy series like this one, the hits are meant to be misses. The jokes are so bad they are funny, if you have a twisted sense of humor.
    • 61 Metascore
    • 70 Matthew Gilbert
    The Inbetweeners has a refreshing sincerity.
    • 76 Metascore
    • 70 Matthew Gilbert
    Based on the first five new episodes, I'd say Boardwalk Empire does recover, mostly if not completely, but only after a period of creeping aimlessness.
    • 67 Metascore
    • 70 Matthew Gilbert
    Together, they [Dakota Johnson & Nat Faxon] bring a whole mess of cute.
    • 69 Metascore
    • 70 Matthew Gilbert
    Despite a few flaws, The Mindy Project could evolve into an interesting hybrid, an anti-romantic-comedy romantic comedy.
    • 66 Metascore
    • 70 Matthew Gilbert
    If you approach The Girl as a sliver, and don't expect a full serving, you are more apt to appreciate it.
    • 55 Metascore
    • 70 Matthew Gilbert
    Then the second episode, and then the third, come along, and 1600 Penn evolves into a surprisingly likable single-camera comedy.
    • 61 Metascore
    • 70 Matthew Gilbert
    The show doesn't pretend to be anything more than what it is--a violent, sexy, somewhat cheesy, but generally entertaining genre drama--and that makes it easier to like.
    • 75 Metascore
    • 70 Matthew Gilbert
    Boston’s Finest is refreshingly free of reality TV’s more insipid and manipulative dramatic tricks.... [But] It can be a little dull over the long haul, perhaps because the action we see isn’t particularly interesting and the family lives of the cops are relatively incident-free.
    • 66 Metascore
    • 70 Matthew Gilbert
    They’ve done a smart job of building a cryptic, threatening world around the disturbing relationship at its center.... Highmore is just right as Norman.... I’m less convinced by Farmiga, who doesn’t seem to have a strong fix on Norma’s motivations.
    • 70 Metascore
    • 70 Matthew Gilbert
    It’s flawed, with the kinds of cheesy trappings and historical freedoms that turn off some viewers.... But the series is nonetheless transporting in its way, largely because it doesn’t try too hard to soften or civilize the characters.
    • 82 Metascore
    • 70 Matthew Gilbert
    On occasion, McKinnon--perhaps in his appreciation of the actor--lingers too long on Young, as if we’re not already completely aware that he is dazed and confused. It unintentionally undermines Young’s performance. But for the most part, in Young’s Daniel we can clearly see what it means to mystified by freedom, to be on the outside and yet shackled on the inside.
    • 62 Metascore
    • 70 Matthew Gilbert
    The plot strands don’t always come together smoothly, some of da Vinci’s mystical, drug-addled visions are pretentious, and the CGI re-creating 15th-century Florence is spotty. And the general tone of the show will not satisfy anyone looking for a serious take on a historical figure or era. But Da Vinci’s Demons is an entertaining series with one huge factor working in its favor: Unlike so much of what we see on TV lineups, it aims to be different.
    • 71 Metascore
    • 70 Matthew Gilbert
    It’s a likable, natural extension of Maron’s brand.
    • 76 Metascore
    • 70 Matthew Gilbert
    This season is very good, but it’s only four episodes, and they’ve been tragically whittled down by BBC America to make room for commercials. The result is choppy, with a few critical connections missing in the investigation of Luther and in the progress of Luther’s relationship with Mary.
    • 70 Metascore
    • 70 Matthew Gilbert
    The White Queen is gauzier than “The Tudors,” and it contains more overacting; but it scratches the same itch.
    • 67 Metascore
    • 70 Matthew Gilbert
    A promising newcomer that recalls the ethnic comedy and spirit of the movie "Moonstruck." [29 Sept 2000]
    • 63 Metascore
    • 70 Matthew Gilbert
    Akerman is perfect for the role.... Whitford is low-key and wry, and Harden makes a great heavy. She uses her silky voice and her stiff posture to torment Kate, making even stock material fly.