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 Downton Abbey: Season 1
Lowest review score: 0 Sons Of Hollywood: Season 1
Score distribution:
771 tv reviews
    • 45 Metascore
    • 50 Matthew Gilbert
    The Playboy Club plods forward with no ballast, hoping that the vibrant early '60s music and the miles of bunny cleavage will compensate for the lack of original plotting and characters.
    • 61 Metascore
    • 50 Matthew Gilbert
    MTV's scripted choices so far, including "Skins" and "The Hard Times of RJ Berger," have been interesting but ultimately disappointing. And Teen Wolf, so bland from the get-go, doesn't promise to change that streak.
    • 47 Metascore
    • 50 Matthew Gilbert
    It stays old school and unambitious in order to blend in well with the classic sitcoms on TV Land's roster. The scripts are more like excuses for the stars to go on camera and ham it up than well-constructed state-of-the-art comic material.
    • 60 Metascore
    • 50 Matthew Gilbert
    It's too bland to elicit very strong feelings either for or against. It's a legal drama with the same kind of buddy dynamic as "Psych" and "White Collar," and by the end of the hour--or, just for tonight, the hour and 20 minutes--I felt like shrugging my shoulders.
    • 80 Metascore
    • 50 Matthew Gilbert
    The show is a grim spectacle, and juicy bait for end-of-the-world addicts such as myself. But the living people in The Walking Dead, those uninfected with the mysterious virus, they are far less compelling.
    • 30 Metascore
    • 50 Matthew Gilbert
    The underwhelming cast brings nothing to the boilerplate action. Kelly is miscast as a biker chick, and making Bosley a hunk with computer skills fails to add life.
    • 57 Metascore
    • 50 Matthew Gilbert
    No, not hooked on this generic-looking crime-solver. The premise is nonsensical.
    • 62 Metascore
    • 50 Matthew Gilbert
    American Horror Story, from Ryan Murphy and Brad Falchuk of "Glee" and "Nip/Tuck," is a very standard creep-fest, an aggressively stylized mash-up of familiar haunted-house movies including "The Amityville Horror," "The Haunting," and "The Shining."
    • 39 Metascore
    • 50 Matthew Gilbert
    I love the way Allen Gregory talks down to every adult he encounters, as if they're members of a lower species. But the world built around that core of satire is a lot less promising.
    • 71 Metascore
    • 50 Matthew Gilbert
    The movie is so carefully stylized, any and all emotional import has been sucked out of it.
    • 49 Metascore
    • 50 Matthew Gilbert
    There is nothing exceptional or original about the show.
    • 65 Metascore
    • 50 Matthew Gilbert
    The Cheezburger team is vaguely entertaining, a reality counterpart to "The Office."
    • 55 Metascore
    • 50 Matthew Gilbert
    It’s a straightforward piece of work that, with some deepening of characters and a few detours from too well-trodden plot paths, could be a decent addition to the TNT lineup.
    • 58 Metascore
    • 50 Matthew Gilbert
    It's a bit of a mess. I found myself wishing that the series, which tracks a loosely knit group of nine friends in the Washington Heights area of New York, actually had more direction.
    • 57 Metascore
    • 50 Matthew Gilbert
    It's a sweet, somewhat bland portrait of an Everygirl coming of age in suburban Connecticut in the 1980s, dealing with the class Heathers--here, they're Donna LaDonna and the two Jens--and crushing on the cutie transfer student with long blond hair.
    • 64 Metascore
    • 50 Matthew Gilbert
    As actors, Lowe and Mitchell are burdened with shamelessly expository dialogue in which they must pretend to talk to each other when they're actually just explaining the case to viewers.
    • 63 Metascore
    • 50 Matthew Gilbert
    None of the story lines, from the young maid’s love of her boss’s son to the murder plot, promises to defy expectations. All the show’s potential gets crushed under the weight of over-familiarity and Cherry’s cookie-cutter technique.
    • 72 Metascore
    • 50 Matthew Gilbert
    While the initial arrival of the dome is intriguing, the characters are not.
    • 66 Metascore
    • 50 Matthew Gilbert
    Essentially, Mary and Martha operates like an EZ-to-read Lifetime movie with HBO production values.
    • 41 Metascore
    • 50 Matthew Gilbert
    There are a few successful jokes here and there, and some able physical comedy involving Bornheimer and Gathegi, but those moments get lost in the shuffle of predictability.
    • 58 Metascore
    • 50 Matthew Gilbert
    There’s a bit of a plot swerve at the end of the episode.... [which] suggests that with time, Graceland might venture into some ambiguous territory. Right now, it’s looking as stuck in the past as Elvis’ estate.
    • 56 Metascore
    • 50 Matthew Gilbert
    It’s a bland, cliched kind of offbeat, as she teases him and he teases her in an all too familiar manner.
    • 68 Metascore
    • 50 Matthew Gilbert
    You've got to be something of a Bette-a-holic to take this much of Midler's raging insecurities and slapstick stylings on a weekly basis. Even when she's missing from a scene in "Bette," which is rare, the rest of the show's character ensemble is fixated on her and her bottomless pit of need. [11 Oct 2000, p.C1]
    • 55 Metascore
    • 50 Matthew Gilbert
    The show isn't awful, just awfully mediocre. [6 Oct 2000, p.D1]
    • 74 Metascore
    • 50 Matthew Gilbert
    The Blacklist doesn’t waste time making sense, as the focus zooms all over Washington, D.C. Too often, it seems more like a blueprint for a show than a show.
    • 64 Metascore
    • 50 Matthew Gilbert
    It’s nice to see Fox in primetime again, and he isn’t the problem with the show. The problem is the writing, which is domestic comedy at its laziest. You’ve seen this material before, and before that, too.
    • 69 Metascore
    • 50 Matthew Gilbert
    It all feels like “Curb”-cutting-room-floor material set atop a feeble plotline and a group of unrealized and disposable supporting performances. Clear History is pretty, pretty average.
    • 64 Metascore
    • 50 Matthew Gilbert
    You have one of the most complex and mixed-up and irritating mythology soufflés ever to be delivered in a single pilot.
    • 65 Metascore
    • 50 Matthew Gilbert
    It’s not boring, thanks to strong performances by Christopher Plummer as the ailing Justice John Marshall Harlan and Frank Langella as conservative Justice Warren E. Burger. But still, the loose script, by Shawn Slovo, doesn’t drive home the size and intensity of the moment.
    • 63 Metascore
    • 50 Matthew Gilbert
    If you don’t think too much about details and leaps in logic, The 100 moves forward swiftly. But the characters seem stuck in place, with one foot placed firmly in central casting. They’re bland, no ish about it.
    • 55 Metascore
    • 50 Matthew Gilbert
    Neither the plot nor the characters are sufficiently evocative to suggest that viewers will want to spend months, much less years, following them.
    • 45 Metascore
    • 50 Matthew Gilbert
    Reilly, who is British but who has a convincing American accent, is a sturdy lead. She nicely holds her own in her confrontational scenes with Redgrave. She projects an intelligence that is essential to her role, and in her manic scenes--dancing alone on a balcony ledge or becoming hypersexual--she manages to keep from sliding into full-on caricature. But the writing is too often lazy.
    • 50 Metascore
    • 50 Matthew Gilbert
    Amid the dated material and the forced efforts to create catchphrases on Undateable, there is some skill in evidence.
    • 51 Metascore
    • 50 Matthew Gilbert
    If you like some of those undemanding USA shows, you just might cotton to this one. Taxi Brooklyn requires no thinking--in fact, it discourages thinking. Ido is winning, too, which helps matters.
    • 65 Metascore
    • 50 Matthew Gilbert
    We don’t get enough of a sense of the characters’ ordinary emotional lives, which means we can’t easily bond with them; we only see their feverish flares of anger and their smoldering discontent as the episodes run forward. If we could spend a few subtle minutes with a character such as Kevin, look into his eyes and feel his sorrow, the show would have a more honest emotional potency.
    • 72 Metascore
    • 50 Matthew Gilbert
    The actors aren’t bad at all, but the script seems to block them from deepening their performances and coloring in the gray along the way.
    • 61 Metascore
    • 50 Matthew Gilbert
    When The Lottery conjectures about the scary cultural tilt that a lack of fertility could cause around the world, it’s at its best.... Unfortunately, the makers of “The Lottery,” led by writer-producer Timothy J. Sexton, who was one of the five screenwriters on the similarly themed 2006 movie “Children of Men,” are more concerned with a far more formulaic suspense story line.
    • 55 Metascore
    • 42 Matthew Gilbert
    It should be more original, and the characters should be less forgettable.
    • 49 Metascore
    • 42 Matthew Gilbert
    Standup comic Cummings has potential, but no one could overcome these dated relationship cliches.
    • 58 Metascore
    • 40 Matthew Gilbert
    The science and deduction on C.S.I. is mildly interesting, if grim, but the show's small forensics team, including actors William Petersen and Marg Helgenberger, is as cliched as they come. From the forced co-worker banter to the second-rate office dramas, the ensemble is as lively as a trip to the morgue. [6 Oct 2000, p.D1]
    • 61 Metascore
    • 40 Matthew Gilbert
    It's "Party of Five" meets "Buffy the Vampire Slayer," but with less angst and pathos than the former and more adult pretension than the latter...As it is, "Charmed" is a pretty bland-tasting brew. [7 Oct 1998, p.C5]
    • 51 Metascore
    • 40 Matthew Gilbert
    A run-of-the-mill family comedy that wants to be the show that follows it, "Everybody Loves Raymond," but ends up more like a wan wannabe. [21 Sept 1998, p.C9]
    • 68 Metascore
    • 40 Matthew Gilbert
    It's subject matter that speaks to the train-wreck spectator in all of us, and designing a weekly show around it is a little uneasy-making. It's dangerously close to "reality" programming. That said, Special Victims Unit is an uneven hour that could improve with some aggressive fine tuning.
    • 53 Metascore
    • 40 Matthew Gilbert
    The most banal family-sitcom setup possible. [17 Sep 2002]
    • 60 Metascore
    • 40 Matthew Gilbert
    Despite Cohen's talent for submerging himself in his characters, Da Ali G Show is a spotty venture. As on "Saturday Night Live," the sketches are overextended instead of staying short and tart. And Cohen only flirts with political and cultural satire as he toys with his guests, who also include former US attorney general Richard L. Thornburgh. He resists making real points about America, falling back on the more small-minded fun of saying dirty words in front of unsuspecting people or watching them writhe when they hear his sex talk. Ultimately, he's a version of Howard Stern's interviewer Stuttering John, only in more exotic drag. [22 Feb 2003, p.F12]
    • 41 Metascore
    • 40 Matthew Gilbert
    Little more than an empty vehicle for clever jokes on America since 9/11. [30 Apr 2005]
    • 58 Metascore
    • 40 Matthew Gilbert
    It has a disappointing lack of suspense. [3 Jan 2005]
    • 62 Metascore
    • 40 Matthew Gilbert
    The kind of TV product that's so instantly recognizable you feel like you've already dreamed it from premiere to finale. It might as well be over before it really starts.
    • 53 Metascore
    • 40 Matthew Gilbert
    'Numb3rs' is strained... You can practically hear them groaning with effort as they milk the action potential out of a brainstorming nerd banging his chalk against a blackboard la 'A Beautiful Mind.'
    • 46 Metascore
    • 40 Matthew Gilbert
    Not surprisingly, watching a functional maniac pitching fits gets old pretty quickly. It's like listening to "You are the weakest link" on a loop for an hour straight. [30 May 2005]
    • 56 Metascore
    • 40 Matthew Gilbert
    Some viewers will be put off by the many unbelievable aspects of ''Commander in Chief," and not least of all by Geena Davis.
    • 53 Metascore
    • 40 Matthew Gilbert
    It's a formulaic, lazily devised legal series that fails to surprise or amuse.
    • 43 Metascore
    • 40 Matthew Gilbert
    The marriage of opposites is a simplistic and overused premise for a TV series, and ''Head Cases" doesn't travel very far beyond it.
    • 40 Metascore
    • 40 Matthew Gilbert
    OK, ''Four Kings" isn't the worst of its type, in that some of the jokes hit their mark.
    • 64 Metascore
    • 40 Matthew Gilbert
    When the show isn't creeping us out with its grim atmosphere and effects, it's undermining its own potential with a self-consciously cutesy gang of heroes, ill-advised humor, and illogical situations.
    • 62 Metascore
    • 40 Matthew Gilbert
    These two extraordinary talents have done an average job with what is a surprisingly unimaginative premise.
    • 42 Metascore
    • 40 Matthew Gilbert
    It's not a cool-science show, but its crimes blur together with what we already see on the ''CSI" series, and its supporting cast is indistinct.
    • 31 Metascore
    • 40 Matthew Gilbert
    Despite the actresses' happy energy, ''Hot Properties" falls into terribly familiar comic territory.
    • 41 Metascore
    • 40 Matthew Gilbert
    [The show] isn't bad, but it's the sort of humor that has become so institutionalized it feels safe.
    • 45 Metascore
    • 40 Matthew Gilbert
    Ultimately "The Black Donnellys" pales in the light of its lofty influences.
    • 60 Metascore
    • 40 Matthew Gilbert
    "Day Break" doesn't quite work, not only because of its redundancies but because its story line becomes simultaneously convoluted and pointless.
    • 39 Metascore
    • 40 Matthew Gilbert
    Despite its formal ambition, "Big Day" is disappointingly ordinary.
    • 57 Metascore
    • 40 Matthew Gilbert
    The show might even have been engaging, if the one-liners came less frequently and the characters had a little more dimension. As it is, Sheldon and Leonard are merely laughable, if sweet, and they are even less fleshed out than the characters on "Two and a Half Men."
    • 59 Metascore
    • 40 Matthew Gilbert
    "The Class" will never be smart, or clever, or original, but it does have a chance of becoming inoffensive and diverting.
    • 45 Metascore
    • 40 Matthew Gilbert
    "Hidden Palms" would be more engaging and addictive if the acting were more distinctive.
    • 53 Metascore
    • 40 Matthew Gilbert
    Alas, show creator David DiGilio forgot to put distinct personalities on his fast-moving bodies.
    • 40 Metascore
    • 40 Matthew Gilbert
    It's a heavy soap opera that's so obsessed with the death of innocence, it forgets about the comic absurdities of decadence.
    • 67 Metascore
    • 40 Matthew Gilbert
    "Freak Show" aspires to be both infantile and yet politically and socially astute, and it falls short on the latter. The satire doesn't quite hit its marks.
    • 58 Metascore
    • 40 Matthew Gilbert
    A tonally mixed-up disappointment.
    • 56 Metascore
    • 40 Matthew Gilbert
    Ultimately, that episode leaves only a vague sense of the rich territory that In Plain Sight could have explored with better writing.
    • 62 Metascore
    • 40 Matthew Gilbert
    Despite a good cast led by Jonny Lee Miller as Eli, and despite the happy San Francisco setting, Eli Stone is a bag of too-familiar tricks.
    • 44 Metascore
    • 40 Matthew Gilbert
    The show doesn't ever really develop a comic center, or a heart. It's just a bunch of pointless monkey business.
    • 58 Metascore
    • 40 Matthew Gilbert
    This comedy is painfully broad, not to mention unimaginative and derivative of every newsroom sitcom from "The Mary Tyler Moore Show" to "LateLine" to "NewsRadio" to "Less Than Perfect."
    • 38 Metascore
    • 40 Matthew Gilbert
    To stand out from the pablum of domestic sitcoms, the series needs to lose the working-mom cliches and be more willing to be mean.
    • 31 Metascore
    • 40 Matthew Gilbert
    The mildly amusing animated series would have packed more of a punch back when Americans were still a little shocked about Bush's seeming arrested development, but these days it comes off as merely facile.
    • 67 Metascore
    • 40 Matthew Gilbert
    The Company delivers no real chills, just a quaint Cold War amusement park ride.
    • 66 Metascore
    • 40 Matthew Gilbert
    Recount should be tight and tense, or, perhaps, wildly satirical. Instead, it just rehashes the mess all over again, in detail, with lots of news footage to support the dutifully invented backstage scenes.
    • 62 Metascore
    • 40 Matthew Gilbert
    There's probably a good, breezy romantic comedy somewhere inside The Ex List. But the premiere just made me cranky.
    • 44 Metascore
    • 40 Matthew Gilbert
    It amounts to little more than a hokey infomercial for her brand.
    • 52 Metascore
    • 40 Matthew Gilbert
    Thomas, who has shown more originality with "Veronica Mars" and his new Starz series "Party Down," seems bent on making this concept work, despite its impossibly flat premise.
    • 59 Metascore
    • 40 Matthew Gilbert
    The middling show plays too much like “The O.C.’’ with swords, crowns, and a cheesy CGI dragon (voiced by John Hurt).
    • 45 Metascore
    • 40 Matthew Gilbert
    It's the kind of story that asks you to either take off your thinking cap or be bored and indifferent.
    • 46 Metascore
    • 40 Matthew Gilbert
    This show amounts to yet another example of the pains people will take to appear on TV. By the end of the premiere, even the crabs are starting to look a little bored.
    • 48 Metascore
    • 40 Matthew Gilbert
    The NBC talk show wasn't a legendary late-night train wreck so much as a train stalled between stations, going nowhere, filled with impatient passengers.
    • 47 Metascore
    • 40 Matthew Gilbert
    Valentine is sweet and amusingly cheesy but quite forgettable.
    • 67 Metascore
    • 40 Matthew Gilbert
    The premiere is sloppily made, as it careens loosely among plotlines and characters, but Morgan is a worthy character played by a promising young actor.
    • 40 Metascore
    • 40 Matthew Gilbert
    It's a stubbornly mediocre product that really, really, really wants to be "House" in a hospital psych ward.
    • 37 Metascore
    • 40 Matthew Gilbert
    The crass gags--some of which I laughed at--ultimately overwhelm everything else. Better to dole out the tastelessness carefully, so that each crude zinger has some value.
    • 54 Metascore
    • 40 Matthew Gilbert
    The movie looks great, like a very extended perfume commercial. But it has no substance.
    • 40 Metascore
    • 40 Matthew Gilbert
    It’s actually kind of depressing just how obviously “The Deep End’’ has been constructed of used parts from the likes of “LA Law,’’ “The Practice,’’ “Boston Legal,’’ “Damages,’’ “Eli Stone,’’ and “The Good Wife.’’
    • 46 Metascore
    • 40 Matthew Gilbert
    For the characters and for the viewers, the miniseries is a plodding excursion on the road to nowhere.
    • 41 Metascore
    • 40 Matthew Gilbert
    The pilot is clearly half-baked. Whether that’s due to Barton or deeper creative problems is unclear.
    • 41 Metascore
    • 40 Matthew Gilbert
    The show doesn’t have any of the expert pacing and plotting needed to make those segments fly. The action just tumbles forth.
    • 50 Metascore
    • 40 Matthew Gilbert
    It’s a 100 percent predictable sitcom about singles who machine-gun one-liners at one another in the bars and bedrooms of Manhattan.
    • 42 Metascore
    • 40 Matthew Gilbert
    Past Life feels overly formulaic from the first moments of the first episode. It’s the kind of procedural that’s stuffed with lightning-bolt revelations and convulsive tears by guest-of-the-week actors and yet still seems bland.
    • 53 Metascore
    • 40 Matthew Gilbert
    Watching this show was the worst kind of sitcom experience--mediocre material, piercing laugh track noise, wasted talent, and a memory-impaired father who is fascinated by the fact that some men shave their “wiggly-dos.’’
    • 76 Metascore
    • 40 Matthew Gilbert
    It has become a powerful, promotional machine, long on hype and short on the human feeling--the glee--that once made it so addictive.
    • 65 Metascore
    • 40 Matthew Gilbert
    Hot in Cleveland is a broad, Vaudeville-style sitcom where everything--story, characters, sets, sound engineering--is only there in service of the rat-a-tat of one-liners.
    • 52 Metascore
    • 40 Matthew Gilbert
    There's absolutely no texture in the world of Rookie Blue, no effort to make it seem like anything more than a routine hour of TV.
    • 61 Metascore
    • 40 Matthew Gilbert
    The humor is madcap and inane where it should be wry, and the characters are stubbornly predictable. The editing of the show is swift and bouncy, as it is on "Burn Notice,'' but still the hour drags. It's just not much fun.
    • 53 Metascore
    • 40 Matthew Gilbert
    The characters are so shallow, it's hard to invest interest in them.
    • 28 Metascore
    • 40 Matthew Gilbert
    I do have a problem with the way $#*! My Dad Says is so blandly traditional, so predictably brash, and so lazy.
    • 63 Metascore
    • 40 Matthew Gilbert
    The light-hearted international espionage series is predictable, pointless, and, worst of all, cutesy.
    • 43 Metascore
    • 40 Matthew Gilbert
    It's trite and forced, a collection of cardboard types rather than characters.
    • 51 Metascore
    • 40 Matthew Gilbert
    Story-wise, the show is awful--stock characters, nonsensical motivations, obvious plot turns, bad acting... The routines--and the dynamic filming of them --are dazzling enough to distract from the surrounding lousiness.
    • 48 Metascore
    • 40 Matthew Gilbert
    It's stupid, but not in the brilliantly stupid and farcical manner of "Arrested Development." It's just a fast-paced, empty, odd-couple comedy that is irritating before the end of the first episode.
    • 56 Metascore
    • 40 Matthew Gilbert
    It's too bad Body of Proof is so unambitious and, at times, clumsy, as it goes through the motions of solving murder mysteries. If the writing were fresher, Delany might have a better chance of finally creating a dynamic and successful drama.
    • 49 Metascore
    • 40 Matthew Gilbert
    Every scene, no matter where it's filmed, inevitably seems to become some kind of Palin political dispatch.
    • 49 Metascore
    • 40 Matthew Gilbert
    Everything is all up in your grill. The touching moments aren't just touching; they're mauling. The life lessons aren't just suggested; they're shouted at you.
    • 54 Metascore
    • 40 Matthew Gilbert
    It's not a complete disaster, thanks to supporting actress Allison Janney and a smooth single-camera tone. But it's a quintessential "so what?" sitcom that practically begs you to damn it with extremely faint praise, mincing your words down to the blandest of neutrality.
    • 43 Metascore
    • 40 Matthew Gilbert
    The three couples featured on Perfect Couples take on predictable lifestyle issues such as mancaves and game night with all the spark of a wet matchbook.
    • 63 Metascore
    • 40 Matthew Gilbert
    Alas, HBO has come up with a dull, unimaginative interpretation of the podcast, essentially giving us animated versions of the three men sitting in a sound booth talking into microphones.
    • 63 Metascore
    • 40 Matthew Gilbert
    No, the only reason to tune in for The Lost Valentine is, of course, Betty White.
    • 58 Metascore
    • 40 Matthew Gilbert
    If the makers of William & Kate had loaded up their movie with higher-octane performances, and if they'd aimed for more humor, flash, and cynicism, they might have come up with a more engaging piece of camp. Instead, they deliver a royally forgettable bit of banality.
    • 67 Metascore
    • 40 Matthew Gilbert
    It fails to transform those events into anything valuable or special, beyond docudramatic re-creation. Ultimately, it's scope is too big, and it fails.
    • 54 Metascore
    • 40 Matthew Gilbert
    Combat Hospital is as bland and generic as its title.
    • 49 Metascore
    • 40 Matthew Gilbert
    All of these actors are pros when it comes to timing, moving quickly past the worst jokes before you realize how bad they are.
    • 47 Metascore
    • 40 Matthew Gilbert
    Like everything else in A&E's Bag of Bones, it is hollow and--boo!--not scary.
    • 52 Metascore
    • 40 Matthew Gilbert
    The cases themselves are weakly constructed, with more holes than a box of doughnuts.
    • 47 Metascore
    • 40 Matthew Gilbert
    Sullivan & Son is a contrived sitcom with nothing original or new to offer.
    • 37 Metascore
    • 40 Matthew Gilbert
    The stubbornly conventional scripts, the overfamiliar characters, and the old-fashioned, machine-gun comic timing undermine any possibility of freshness.
    • 43 Metascore
    • 40 Matthew Gilbert
    Made in Jersey is lame and clichéd, but it's far from the bottom of the barrel on network TV.
    • 48 Metascore
    • 40 Matthew Gilbert
    If Red Widow were more psychologically twisty or more excessive and over-the-top, it could be more engaging. As it is, the show is ludicrous and not much fun.
    • 52 Metascore
    • 40 Matthew Gilbert
    Even the actors seem grudging as they play their predictable parts. They never succeed in creating a sense of ensemble, enabling us to feel how these characters have known one another for decades.
    • 38 Metascore
    • 40 Matthew Gilbert
    Show creator David Schulner has failed to craft a workable TV concept, but he does keep the hours tumbling forward effectively, bringing in a number of subplots--Jason's wounded ex-girlfriend, a hostile co-worker trying to bring him down--to distract us from the nonsense.
    • 46 Metascore
    • 40 Matthew Gilbert
    Cult is too messy and unnecessarily complex to be the show it could and should be.
    • 47 Metascore
    • 40 Matthew Gilbert
    Southie Rules definitely has the characters. That's the positive news.... [But] Southie Rules is woefully short on story line, and so the producers have clearly set up situations and edited episodes in order to provide viewers with a narrative.
    • 60 Metascore
    • 40 Matthew Gilbert
    There is no sense of who Cheney is, beyond his restatements.
    • 60 Metascore
    • 40 Matthew Gilbert
    Everything aside from Pacino in this movie is surprisingly ordinary and lacking.
    • 65 Metascore
    • 40 Matthew Gilbert
    The story wanders slowly and aimlessly when it should be tumbling toward a climax. It’s a ride on flat terrain.
    • 57 Metascore
    • 40 Matthew Gilbert
    The Goodwin Games isn’t awful, really, but it might have made a better light-hearted movie than a weekly series. The concept is so limited, it gets very tiresome very fast.
    • 55 Metascore
    • 40 Matthew Gilbert
    Cautious and slow. [25 Sept 2001, p.E8]
    • 43 Metascore
    • 40 Matthew Gilbert
    The shtick flies fast and furiously, but with only one decent joke for every 10 rote punch lines.
    • 44 Metascore
    • 40 Matthew Gilbert
    It’s a thoroughly uninspired remake.... The only promise of entertainment comes from Blair Underwood, who brings some slight layering to the role of Detective Robert Ironside.
    • 59 Metascore
    • 40 Matthew Gilbert
    It comes off as a straining, overly serious wannabe.
    • 50 Metascore
    • 40 Matthew Gilbert
    The atmosphere is bland, the special effects and fight scenes are underwhelming, and the tone is mostly humorless.
    • 45 Metascore
    • 40 Matthew Gilbert
    The action may be as fast and persistent as a gurney on the way to an operating theater, but nothing can hide the wobbly scripting and weak characters it’s all riding on
    • 54 Metascore
    • 30 Matthew Gilbert
    Not only does this sort of McDonald's approach to crime drama represent a serious lack of network imagination, it also threatens the dignity of the original "Law & Order" as it clones its formula. Think of the show's trademark ching-ching as the equivalent of the Golden Arches. [29 Sept 2001, p.F1]
    • 29 Metascore
    • 30 Matthew Gilbert
    So far, and that's an important qualification, watching "Big Brother" is only slightly more exciting than watching a drugstore surveillance tape. One week in, CBS's five-nights-a-week series remains slow, self-conscious, and visually sterile. [13 Jul 2000]
    • 44 Metascore
    • 30 Matthew Gilbert
    This is the kind of material that gives sitcoms a bad name - not because it's so awful, but because it aims so low. It's middle-of-the-road, generic claptrap. [27 Mar 2002, p.D1]
    • 46 Metascore
    • 30 Matthew Gilbert
    One Tree Hill needs a lot of work. The characters are painfully one-dimensional, as they fall on either the good or the bad side of the fence. Their actions are predictable based on whether they've been designated as angels or devils. The writers need to humanize them - especially the brothers - by giving them mixed feelings and unexpected lines. Also, some humor please. [23 Sept 2003, p.D14]
    • 49 Metascore
    • 30 Matthew Gilbert
    Certainly a superhero needs to have gravitas, but Jones takes it too far -- further than Wesley Snipes in the "Blade" movies.
    • 42 Metascore
    • 30 Matthew Gilbert
    Crash tries too hard, and fails hard too.
    • 61 Metascore
    • 30 Matthew Gilbert
    "CSI: NY" is a big disappointment, even if you're a diehard fan of the "CSI" formula. It's a groggy, overly atmospheric, and grim series that works much too hard to evoke "the city that never sleeps." [22 Sep 2004]
    • 71 Metascore
    • 30 Matthew Gilbert
    It walks the walk of Important Series Television, but no matter how hard it tries to be gutsy and existential, it rings hollow.
    • 59 Metascore
    • 30 Matthew Gilbert
    As unimaginative as its title.
    • 40 Metascore
    • 30 Matthew Gilbert
    It all feels inessential.
    • 25 Metascore
    • 30 Matthew Gilbert
    It's not awful, exactly, but it's so willfully bleak as to become monotonous.
    • 39 Metascore
    • 30 Matthew Gilbert
    It's a bland Spielberg wannabe that doesn't succeed in evoking much creepiness or wonder
    • 39 Metascore
    • 30 Matthew Gilbert
    Unfortunately, despite an interesting pair of lead actors, ''E-Ring" is stubbornly conventional and bland.
    • 40 Metascore
    • 30 Matthew Gilbert
    If they can emphasize the science over the tiresome characters, they might add a few ounces to this lightweight copycat.
    • 33 Metascore
    • 30 Matthew Gilbert
    The show takes the characters' angst and obsessions much too seriously, elevating their histrionics to soap-operatic levels when it should be flirting with satire.
    • 41 Metascore
    • 30 Matthew Gilbert
    If the writers and actors were willing to get a little campy, if they lifted the group's obnoxiousness factor over the top, the show might have some entertainment value. But as it stands, it's an hour spent watching dull, pretty people work very hard to be hipper than one another, as well as hipper than you.
    • 48 Metascore
    • 30 Matthew Gilbert
    It's not the weakest of the new supernatural pilots, but it so quickly falls into generic horror moves and a stifling atmosphere that it doesn't make for a terribly auspicious hour.
    • 37 Metascore
    • 30 Matthew Gilbert
    While there's nothing cringingly awful about this new WB series -- see Fox's ''Unan1mous" for that -- it nonetheless succumbs to one of the great TV sins: mediocrity.
    • 44 Metascore
    • 30 Matthew Gilbert
    These actors deserve better material.
    • 39 Metascore
    • 30 Matthew Gilbert
    A charmless sitcom with absolutely nothing original in it.
    • 46 Metascore
    • 30 Matthew Gilbert
    The more the script pushes its stock questions of faith, the more cerebral the movie becomes. And cerebral isn't a good thing when you're talking about horror.
    • 50 Metascore
    • 30 Matthew Gilbert
    What makes a cloney-baloney reality show such as the new ''Skating With Celebrities" bearable? For me, it's the constant awareness of how ''Saturday Night Live" might milk its silliness.
    • 61 Metascore
    • 30 Matthew Gilbert
    Relies so heavily on... amateurish re-creations that it undermines its otherwise mind-blowing survival stories.
    • 55 Metascore
    • 30 Matthew Gilbert
    The production doesn't engage the ears, the eyes, or the laugh muscles. It engages only the snooze button.
    • 54 Metascore
    • 30 Matthew Gilbert
    It's kind of boring.
    • 48 Metascore
    • 30 Matthew Gilbert
    "Jericho" turns nuclear catastrophe into an excuse for a series of suspenseful "24"-like set pieces, and the result is a ham-fisted concoction overcrowded with incident and rigged thrills.
    • 52 Metascore
    • 30 Matthew Gilbert
    No, "Drive" isn't awful... But the show still lacks the charisma that a serialized story requires to keep viewers coming back for more.
    • 37 Metascore
    • 30 Matthew Gilbert
    The tonal dissonance in "Standoff" is deafening, like pairing up, say, Jewel and Meat Loaf for a duet.
    • 62 Metascore
    • 30 Matthew Gilbert
    With its population of must-love oddballs, the series drowns its cool sci-fi concept in a flood of "Northern Exposure" quaintness.
    • 26 Metascore
    • 30 Matthew Gilbert
    It's thoroughly artificial and proud of it. The four women are a little too attractive, their comments and voiceovers feel a little too semi-scripted, and everyone is a little too willing to ignore the camera crew on the dates.
    • 33 Metascore
    • 30 Matthew Gilbert
    Too much like a dull season of MTV's "Road Rules," without the women.
    • 42 Metascore
    • 30 Matthew Gilbert
    Feresten's not awful, and the show he has built around himself with video segments has a few laugh-out-loud moments. But he clearly needs to find his identity behind the desk.
    • 52 Metascore
    • 30 Matthew Gilbert
    "The Path to 9/11" never quite arrives at narrative coherence and depth.
    • 70 Metascore
    • 30 Matthew Gilbert
    Pointless and inert.
    • 33 Metascore
    • 30 Matthew Gilbert
    MTV's latest invitation to watch dislikable people do unattractive things.
    • 51 Metascore
    • 30 Matthew Gilbert
    Everything other than Harmon, who has thrown her "Law & Order" reserve out the window, feels unnatural and contrived.
    • 59 Metascore
    • 30 Matthew Gilbert
    Halfway through the premiere, the basis for the entire show is already worn thin.
    • 50 Metascore
    • 30 Matthew Gilbert
    Let's hope Welcome, as forced as "Christine" is relaxed, runs itself into cancellation sooner rather than later.
    • 38 Metascore
    • 30 Matthew Gilbert
    Much of Moonlight is amateurish, but nothing is more amateurish than the artificial chemistry between O'Loughlin and Myles.
    • 39 Metascore
    • 30 Matthew Gilbert
    A very hit-or-miss improvisational exercise, with miles of miss for every inch of hit.
    • 54 Metascore
    • 30 Matthew Gilbert
    It's a dour retelling of the L. Frank Baum story, and it just keeps sinking further and further into pointless thematic complexity and visual density.
    • 35 Metascore
    • 30 Matthew Gilbert
    The wacky situations and jokes on The Bill Engvall Show seem almost willfully dated.
    • 44 Metascore
    • 30 Matthew Gilbert
    " 'Til Death Do Us Part"... almost contains enough comically clumsy filming and overacting to achieve camp. Almost, but not quite enough, even with Waters doing his twisted Rod Serling bit.
    • 42 Metascore
    • 30 Matthew Gilbert
    "Heartland" doesn't use its talent in service of anything other than predictable, inoffensive stories and a contrived relationship between the two leads.
    • 54 Metascore
    • 30 Matthew Gilbert
    But even if you pushed those questions about production ethics out of your mind last night, the Kid Nation premiere was still an uncomfortable, irritating, and narratively subpar hour of TV. It was a disorganized mess that milked its young cast for cacophonous psychodrama.
    • 31 Metascore
    • 30 Matthew Gilbert
    It's entirely paint-by-numbers, a formulaic dating contest colored in with all the too-familiar characters, from the butch Matt to each of the ladies, city gals looking for a real man who doesn't bother with all that metrosexual nonsense. This is reality by rote.
    • 31 Metascore
    • 30 Matthew Gilbert
    Jones plays her clichéd role to the hilt, which is clear early on, when she paints her toenails pink while driving her car.
    • 62 Metascore
    • 30 Matthew Gilbert
    HBO's new series Eastbound & Down falls into the grating category of totally obnoxious dude comedies.
    • 48 Metascore
    • 30 Matthew Gilbert
    These are some of the most lackluster, unimaginative trials brought to TV in years, as every defendant's guilt or innocence is written all over his or her face from the get-go.
    • 53 Metascore
    • 30 Matthew Gilbert
    Oh big sigh indeed. Quarterlife, is just plain creepy.... Rather than developing a clique of layered individuals, as they've done before, Herskovitz and Zwick deliver a small culture of flat, irritating generational emblems.
    • 51 Metascore
    • 30 Matthew Gilbert
    NBC's new anthology horror series is, like far too many TV horror anthologies before it, just not scary enough.
    • 54 Metascore
    • 30 Matthew Gilbert
    This new CBS series is just too silly, as it tries to mix up science and crime-solving like a sloppy kid with a chemistry set.
    • 61 Metascore
    • 30 Matthew Gilbert
    After July 2, you won't need to worry about stumbling across this enervating, vapid, and obscenely over-promoted thriller when you're channel surfing.
    • 42 Metascore
    • 30 Matthew Gilbert
    The series, premiering tomorrow night, is completely hackneyed, a dull dropout from the Adult Swim school of looney 'toons.
    • 53 Metascore
    • 30 Matthew Gilbert
    The show tries to get by on charm, hoping that we'll enjoy Fillion as a bad boy enough to overlook the half-baked plots and thin characters.
    • 29 Metascore
    • 30 Matthew Gilbert
    At four hours, you are left with far too much time to ponder the feebleness of the endeavor. If you decide to get on this ride, prepare to be dazzled by little more than the glorious scenery.
    • 46 Metascore
    • 30 Matthew Gilbert
    90210, the CW remake that premiered last night, is pretty bad.
    • 47 Metascore
    • 30 Matthew Gilbert
    This is the kind of dull-witted, over-laugh-tracked, artificial sitcom that makes you wonder if the Hollywood honchos ever got the memo about the 21st century and all.
    • 56 Metascore
    • 30 Matthew Gilbert
    The show strained to create oh-so-legendary moments. Alas, most of the efforts were as unsteady as Chris Martin's voice.
    • 54 Metascore
    • 30 Matthew Gilbert
    This attempt to milk the success of the 2008 movie “300’’ is a major dud, from the C-level production values and shoddy green-screen technology to the horrible makeup that turns star Lucy Lawless into a Raggedy Ann doll.
    • 38 Metascore
    • 30 Matthew Gilbert
    Alas, it’s an amateurish take that feels more like a string of failed “Funny or Die’’ sketches than a fully developed series with distinct characters.
    • 41 Metascore
    • 30 Matthew Gilbert
    Mercy is a bunch of played-out hospital cliches placed together in hopes of being the next “Grey’s.’’
    • 48 Metascore
    • 30 Matthew Gilbert
    Sure, the show will raise awareness of organ donation; but it is certainly not going to raise the profile of good TV drama. Casting and nuanced writing might have helped, but neither are in evidence here.
    • 37 Metascore
    • 30 Matthew Gilbert
    A junky sitcom that isn’t old school so much as mold school.
    • 57 Metascore
    • 30 Matthew Gilbert
    The animated comedy, which premieres on HBO tomorrow at 11 after Little Britain USA, is unnecessarily slow and slack.
    • 44 Metascore
    • 30 Matthew Gilbert
    The show remains a poorly conceived piece of work that throws a whole mess of relationship and medical cliches at us and hopes for the best.
    • 50 Metascore
    • 30 Matthew Gilbert
    They don't promise to be more than a collection of types, like the generic figures in TV's "Poseidon Adventure'' remake. And if we don't care about them, then it's hard to care about the possible threats that surround them.
    • 56 Metascore
    • 30 Matthew Gilbert
    Not a single one of the characters were funny enough, or touching enough, to make me want to see more of them. If the Wests were thrown in jail, I'd be tempted to throw away the key.
    • 41 Metascore
    • 30 Matthew Gilbert
    The Jerry Seinfeld-produced reality show may just slide backward into the ditch and push NBC farther down into the hole....It was an underwhelming, contrived product that didn’t bode well for the hourlong version of the series.
    • 36 Metascore
    • 30 Matthew Gilbert
    There's not a hint of logic in the procedural aspect of the show. The development and the resolution of tonight's case, in which a man on death row is trying to prove he isn't a cop killer, represent the sloppiest, most factory-like TV writing there is. And there's not much realism afoot, either.
    • 42 Metascore
    • 30 Matthew Gilbert
    It's just a flat traditional sitcom built around lazy, repetitive jokes and audience cackles. It's just bad.
    • 32 Metascore
    • 30 Matthew Gilbert
    He is so relentlessly bitter in Lennon Naked that, ultimately, his bitterness has no emotional weight. The script, by Robert Jones, is remarkably spotty.
    • 39 Metascore
    • 30 Matthew Gilbert
    Like "The View," The Talk was an hour of plastic blatherers pretending to be a microcosm of American women.
    • 47 Metascore
    • 30 Matthew Gilbert
    Don't ask me what Retired at 35 has to offer. TV Land's new companion sitcom for "Hot in Cleveland" is a piece of brash nonsense that, with jokes featuring older people talking about "Facialbook" and "texturizing," seems like it was written to target people who died about 30 years ago.
    • 50 Metascore
    • 30 Matthew Gilbert
    There's nothing dishy, or infuriating, or entertaining about the miniseries. It's enervating and unnecessary.
    • 55 Metascore
    • 30 Matthew Gilbert
    For the most part, The Pee-wee Herman Show on Broadway is stale sugary shtick on a candy-colored set with no new resonance--no undercurrents about childhood, or innocence, or even Pee-wee Herman.
    • 38 Metascore
    • 30 Matthew Gilbert
    The show never takes off, and Reiser, best known for "Mad About You," winds up looking like a shoddy replica.
    • 56 Metascore
    • 30 Matthew Gilbert
    Franklin & Bash is not a guilty pleasure, because there's no pleasure here to regret, just strained, sexist, frat-boy self-love.
    • 41 Metascore
    • 30 Matthew Gilbert
    [Malibu Country] is a traffic jam of culture-clash cliches, numbing laugh track cackles, and fake stage-set lighting.
    • 48 Metascore
    • 30 Matthew Gilbert
    The animals can't make a sitcom work unless they're surrounded by good human writing and human originality, both of which are in short supply here.
    • 34 Metascore
    • 30 Matthew Gilbert
    Loosely based on the 1987-89 series, it's a silly, flat piece of work that is all about posing longingly in the face of impossible love.
    • 56 Metascore
    • 30 Matthew Gilbert
    It’s an oddly unnecessary piece of work, a vanity production from top to bottom with very little that feels genuinely candid.
    • 69 Metascore
    • 30 Matthew Gilbert
    On just about every other, deeper level--plotting, acting, dialogue--Hannibal is lousy.
    • 48 Metascore
    • 30 Matthew Gilbert
    The problem is almost everything around [Sarah Chalke], including the title, which is cutesy on a stick.
    • 50 Metascore
    • 30 Matthew Gilbert
    The first half-hour of The Millers is so banal, it’s just sad. There’s no promise lurking anywhere in the setup, nothing that could get better and become more central as the writers find the show’s voice.
    • 43 Metascore
    • 30 Matthew Gilbert
    "Enlightened" with Laura Dern covered some of the same territory with sensitivity and honesty. Save Me, in the premiere, turns this subtle idea into a romp devoid of charm.
    • 41 Metascore
    • 30 Matthew Gilbert
    The writing is stock, the acting is hollow, and the direction is perky and workmanlike. It lacks any of the clever stylistic accents and camp humor of the somewhat similar “Desperate Housewives,” and pity the poor viewer who tries to apply logic to some of the plot twists.
    • 50 Metascore
    • 30 Matthew Gilbert
    It is possible for an ensemble of actors to overcome a lousy script, but that doesn’t happen on Camp.
    • 47 Metascore
    • 30 Matthew Gilbert
    ABC Family has assembled 11 mannequins for “The Vineyard” who are so plastic, so Barbie and Ken, so perfectly put together, that they might as well have come marching off a factory line.
    • 33 Metascore
    • 30 Matthew Gilbert
    Underneath the lively shape-shifting surface, there are just new depths of irritation waiting to be plumbed. There are banal insights on issues such as privacy, feminism, and sex.
    • 50 Metascore
    • 30 Matthew Gilbert
    A missable new supernatural series populated by wooden actors and feeble plotlines.
    • 29 Metascore
    • 30 Matthew Gilbert
    The creators of the show, some of whom were involved in the movie, have done little more than throw together familiar sci-fi fantasy influences, including H.G. Welles, "The Time Tunnel," "Quantum Leap," and even the movie "Mad Max," and then presented these elements without much intelligence or brio, despite the slick futuristic gadgetry and the moody, "X-Files" lighting. [22 Sept 1997, p.C9]
    • 63 Metascore
    • 30 Matthew Gilbert
    The show is, essentially, three dated, clichéd jokes told over and over again.
    • 52 Metascore
    • 30 Matthew Gilbert
    The material is wooden, lacking the kind of deft writing that would push the premise beyond sitcom cliché and make the characters more engaging. Show creator Andrew Gurland tries to add some racy fun with a few super quirky supporting players, but they only feel tacked on and forced.
    • 43 Metascore
    • 25 Matthew Gilbert
    What demotes it from a C to a D is some of the laziest plot setups ever, as well as the dumbing down of "Friday Night Lights" alums Porter and Cress Williams.
    • 33 Metascore
    • 25 Matthew Gilbert
    Allen tries too hard to be cranky and offensive and misogynistic and yet ultimately--aww--a good guy.
    • 59 Metascore
    • 25 Matthew Gilbert
    The lousy effects that put the twins in the same room are sloppy, and the story line--ripped from a cheesy daytime soap--is worse.
    • 36 Metascore
    • 25 Matthew Gilbert
    It's one joke ground to dust as the moms abuse their daughters and vice versa, ad infinitum.
    • 48 Metascore
    • 20 Matthew Gilbert
    It's one of HBO's more fascinating series -- but not because it's good, or funny.
    • 33 Metascore
    • 20 Matthew Gilbert
    ''Freddie" tries to distinguish itself with Puerto Rican dash, and it has been even more ruthlessly built to appeal to TV's most coveted audience, young women, by exploiting Prinze's pinup appeal. Maybe ABC should think about adding a third element to help the show attract viewers: It's called good writing.
    • 37 Metascore
    • 20 Matthew Gilbert
    A painfully simplistic sitcom that has exactly one thing going for it: Sara Gilbert.
    • 41 Metascore
    • 20 Matthew Gilbert
    [It] looks like a TV commercial with plots. The people are pretty, their homes are pretty, their problems are pretty, and it's all pretty shallow.