Matthew Gilbert

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For 1,000 reviews, this critic has graded:
  • 45% higher than the average critic
  • 3% 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: 59
Highest review score: 100 The Night Of
Lowest review score: 0 Tuesday Night Book Club: Season 1
Score distribution:
1000 tv reviews
    • 32 Metascore
    • 33 Matthew Gilbert
    The concept is muddy, the twists are hokey, the Shonda Rhimes-esque tone and pace are exhausting, the compelling ethical questions about journalism and the law are unexplored, and the relationship between Sunjata and Perabo is smirky and unintentionally hard to understand.
    • 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.
    • 55 Metascore
    • 30 Matthew Gilbert
    The production doesn't engage the ears, the eyes, or the laugh muscles. It engages only the snooze button.
    • 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.
    • 56 Metascore
    • 30 Matthew Gilbert
    The three men tease one another about old girlfriends and underage women--and then they make up, in pause-filled scenes that become awkwardly dramatic as the minutes pass and writing fails to rise to the occasion.
    • 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.
    • 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]
    • Boston Globe
    • 70 Metascore
    • 30 Matthew Gilbert
    On just about every other, deeper level--plotting, acting, dialogue--Hannibal is lousy.
    • 47 Metascore
    • 30 Matthew Gilbert
    A labored, humorless attempt to turn “The Wizard of Oz” into a “Game of Thrones”-like epic.
    • 48 Metascore
    • 30 Matthew Gilbert
    The problem is almost everything around [Sarah Chalke], including the title, which is cutesy on a stick.
    • 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.
    • 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]
    • Boston Globe
    • 62 Metascore
    • 30 Matthew Gilbert
    The show just doesn’t take off. The plots are overly elaborate, the supernatural element is distracting, and, worst of all, the acting isn’t very good. ... A perfect opportunity for timely, mind-bending TV squandered.
    • 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.
    • 42 Metascore
    • 30 Matthew Gilbert
    The premiere is so poorly written. .... The performances aren’t enough to overcome the problems with the show.
    • 67 Metascore
    • 30 Matthew Gilbert
    It’s all nutty, and much of it defies logic as it flies by with the help of sleek production values and fast editing. But the bigger problem is the acting, or should I say over-acting.
    • 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]
    • Boston Globe
    • 57 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.
    • 49 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.
    • 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.
    • 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.
    • 39 Metascore
    • 30 Matthew Gilbert
    It's a bland Spielberg wannabe that doesn't succeed in evoking much creepiness or wonder
    • 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.
    • 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.
    • 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.
    • 44 Metascore
    • 30 Matthew Gilbert
    Allen’s simplistic portrait of the 1960s attempts to stir some nostalgia and light laughs and fails. It’s remarkable only for seeming like a lame vignette out of “Love, American Style.”
    • 40 Metascore
    • 30 Matthew Gilbert
    It all feels inessential.
    • 51 Metascore
    • 30 Matthew Gilbert
    Everything other than Harmon, who has thrown her "Law & Order" reserve out the window, feels unnatural and contrived.
    • 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.
    • 45 Metascore
    • 30 Matthew Gilbert
    It's all thin melodrama and B-grade action steeped in generic nighttime city scapes. All the while, there's the serious Fimmel, doing his workout with a jut in his jawline and a grunt on his lips. [3 Oct 2003, p.D16]
    • Boston Globe

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