Matthew Gilbert
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For 782 reviews, this critic has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 7.4 points lower than other critics. (0-100 point scale)

Matthew Gilbert's Scores

Average review score: 57
Highest review score: 100 Homeland: Season 1
Lowest review score: 0 Rules of Engagement: Season 1
Score distribution:
782 tv reviews
    • 69 Metascore
    • 50 Matthew Gilbert
    While the pacing and acting of the new show is admirable, it's an overtold story and its familiarity lessens the intrigue. Baby, maybe he wasn't born to run, and run, and run. [6 Oct 2000, p.D1]
    • Boston Globe
    • 67 Metascore
    • 50 Matthew Gilbert
    The new series works just OK. The problem is, there actually isn't much of a need for the two dopes and their anti-wisdom anymore.
    • 79 Metascore
    • 50 Matthew Gilbert
    Much as I am compelled to watch "24," and admire its craft, I find that I can't take it seriously.
    • 72 Metascore
    • 50 Matthew Gilbert
    24 makes a feint toward change, before getting back on the same old mechanical cowboy ride.
    • 75 Metascore
    • 50 Matthew Gilbert
    The script is a little too silly and lighthearted for its own good, undermining its cleverness with absurd plot twists. [11 July 2012, p.D1]
    • Boston Globe
    • 65 Metascore
    • 50 Matthew Gilbert
    Alas, the seductive, interesting surface of "Carnivale" can't mask its facile pretensions. [12 Sep 2003]
    • Boston Globe
    • 70 Metascore
    • 50 Matthew Gilbert
    The show digs into the issues too quickly, and with too much intensity, and the drama suffers. [22 July 2003, p.E1]
    • Boston Globe
    • 69 Metascore
    • 50 Matthew Gilbert
    The scripts pander too much to the sensibility they should be mocking - that Hollywood is a playland for big boys with an eye for scrawny women. Entourage doesn't need to become moralistic or politically correct, just self-aware. If the writers took another step back from their immature characters, the show's satirical edge might be sharper. [16 July 2004, p.C1]
    • Boston Globe
    • 70 Metascore
    • 50 Matthew Gilbert
    Despite its unique premise, the show delivers little more than network sitcom material tarted up with cable raciness. [5 Aug 2005]
    • Boston Globe
    • 45 Metascore
    • 50 Matthew Gilbert
    The show moves along briskly, and it benefits from the lack of a laugh track. But you have to accept the relentless repetition of some flagrantly juvenile jokes to enjoy yourself.
    • 52 Metascore
    • 50 Matthew Gilbert
    The miniseries is an ordinary but not awful piece of science fiction, one you won't hate watching and yet one you shouldn't hate missing.
    • 48 Metascore
    • 50 Matthew Gilbert
    The regular characters are generic, and the plots are filled with holes. But as a mindless TV distraction bent on reminding us that the justice system is not perfect, ''In Justice" will do.
    • 48 Metascore
    • 50 Matthew Gilbert
    It's not half bad, but then it's not even a quarter original.
    • 53 Metascore
    • 50 Matthew Gilbert
    If someone turns down the volume, ''Out of Practice" has the potential to become a likable, if conventional, sitcom.
    • 66 Metascore
    • 50 Matthew Gilbert
    "Casanova" is a giddily unconventional tale of an adventurous youth, but then it's also a stock and inflated portrait of old age.
    • 45 Metascore
    • 50 Matthew Gilbert
    It's made of familiar slacker material that's slightly freshened with an improvisatory feel as the actors um-and-ah their way to their punch lines. And it's blissfully missing the canned laughs that make the likes of ''That '70s Show" so obnoxious. Still, ''Free Ride" is far from essential TV viewing.
    • 29 Metascore
    • 50 Matthew Gilbert
    Despite all its contrived reality melodrama, ''American Inventor" features a steady stream of entertainingly kooky and cool creations.
    • 51 Metascore
    • 50 Matthew Gilbert
    The premiere... doesn't inspire an instant commitment the way the premieres of "Prison Break" and "24" did.
    • 53 Metascore
    • 50 Matthew Gilbert
    We've seen this on-the-lam material many times before, and it offers very familiar family tensions.
    • 51 Metascore
    • 50 Matthew Gilbert
    The show isn't a debacle, but it's a disappointing comedy that doesn't live up to an interesting premise.
    • 58 Metascore
    • 50 Matthew Gilbert
    It feels more like a programming move than a creative endeavor.
    • 65 Metascore
    • 50 Matthew Gilbert
    Sordid Lives: The Series has a decidedly amateurish tone, with shoddy production values and acting that shows some seams. But the tone works in the show's favor.
    • 72 Metascore
    • 50 Matthew Gilbert
    The series as a whole has a much better sense of itself, and a more confident tone, since Eli, his colleagues, and the viewers all understand that the guy is in fact a visionary. The coyness of season one is gone. The show, cocreated by Greg Berlanti, nonetheless falls short of being destination television.
    • 37 Metascore
    • 50 Matthew Gilbert
    The show doesn't aim very high. It's only a little bit more than just another network sitcom about marital conflict and about how men will be men.
    • 49 Metascore
    • 50 Matthew Gilbert
    Kelley's fascinating concept--the personal and sexual politics of an open marriage--is stifled by CBS prime-time superficiality and an inability to intimately explore intimate subject matter.
    • 64 Metascore
    • 50 Matthew Gilbert
    Written by Michael Hirst , who also wrote about Henry's daughter in Cate Blanchett's "Elizabeth," the series goes only rock-opera deep, moving full-steam ahead without much accounting for character motivation.
    • 74 Metascore
    • 50 Matthew Gilbert
    The material isn't nearly strong enough to support a full half-hour of TV.
    • 67 Metascore
    • 50 Matthew Gilbert
    After the electrifying start, Fringe unfolds as an uneven, unwieldy piece of work that provides very few chills and thrills.
    • 51 Metascore
    • 50 Matthew Gilbert
    It goes through the motions quite competently and respectably. But it is nonetheless merely re-creating crime-series moves we've all seen many times before, with only the faintest afterimage of originality.
    • 57 Metascore
    • 50 Matthew Gilbert
    Ultimately, you'll want to think about Dollhouse more than you'll want to think about watching Dollhouse.
    • 53 Metascore
    • 50 Matthew Gilbert
    Instead of breaking new ground, Crusoe falls back on hokey Saturday matinee swashbuckling, a treasure map, explosions, and jungle sets with fake torches that invite you to look for "Survivor" host Jeff Probst around the next boulder.
    • 61 Metascore
    • 50 Matthew Gilbert
    It’s hard to fault a drama that celebrates altruism and tries to glamorize social conscience. But I found myself cringing at the condescending scenes of our rich white savior wandering among the Africans with their colorful outfits and drum music, his checkbook at the ready in case he needs to bribe a local.
    • 43 Metascore
    • 50 Matthew Gilbert
    The show is an extremely mixed bag, but he's an extremely likable extreme interventionist.
    • 63 Metascore
    • 50 Matthew Gilbert
    The show is neither here nor there, neither amusing nor affecting. It doesn't really call out for further viewing, which is not so unusual at all.
    • 62 Metascore
    • 50 Matthew Gilbert
    The style of the telling--heavy and, ultimately, hollow--perfectly matches the substance of the story. But of course that lugubrious style makes House of Saddam a slog, even while it is precisely paced and seamlessly directed.
    • 53 Metascore
    • 50 Matthew Gilbert
    As much as I like Parker and Kudrow and the subjects of later episodes such as Susan Sarandon and Spike Lee, I’m not sure I like them enough to care about their long-gone ancestors. It’s primarily when the stars’ family trees overlap with history--the Holocaust, for example, in Kudrow’s case--that the show feels like something more than Hollywood self-indulgence.
    • 49 Metascore
    • 50 Matthew Gilbert
    The stereotypes in play on Accidentally on Purpose are flat, if harmless, from the get-go.
    • 41 Metascore
    • 50 Matthew Gilbert
    Some of the performances were strong -- Aguilera actually managed to make good with her yodel on "It's a Man's Man's Man's World." And some were underwhelming -- the Chili Peppers singing a listless "Snow (Hey Oh)" amid crazy confetti.
    • 47 Metascore
    • 50 Matthew Gilbert
    HawthoRNe seems bent on being reverential, complete with musical montages meant to break our hearts. It's not awful, by any means, just too good to be true.
    • 49 Metascore
    • 50 Matthew Gilbert
    Secret Girlfriend could add up to something worthwhile, with more of that kind of elliptical character revelation and fewer generic dirty-boy adventures. Ultimately, I want to know more about “you,’’ not them.
    • 56 Metascore
    • 50 Matthew Gilbert
    The Memphis location is meant to add distinction, but it doesn't quite work. The setting and the musical references seem oddly artificial, right down to Lee's stage performance, for which his voice has been dubbed.
    • 52 Metascore
    • 50 Matthew Gilbert
    It's a gathering of familiar material that never quite distinguishes itself. I'd say the show is a "mash-up'' of its many influences, but that word implies intentionality and he Gates seems more like a lazy assemblage of cliches.
    • 48 Metascore
    • 50 Matthew Gilbert
    The boilerplate talk format was reminiscent not only of Leno’s “Tonight Show,’’ but of almost every other late-night talker on the air right now.
    • 54 Metascore
    • 50 Matthew Gilbert
    The raunchy comedy on The League had me laughing out loud a few times, but mostly I felt as though I’d seen it all done better before.
    • 66 Metascore
    • 50 Matthew Gilbert
    The CW remake isn't awful, by any means. The pilot rushes ahead nicely, with a twist at the end that gestures toward many possible future plotlines. But we've seen the whole thing many times before.