Matthew Gilbert
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For 802 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 7.3 points lower than other critics. (0-100 point scale)

Matthew Gilbert's Scores

Average review score: 57
Highest review score: 100 Friday Night Lights: Season 4
Lowest review score: 0 Unan1mous: Season 1
Score distribution:
802 tv reviews
    • 99 Metascore
    • 100 Matthew Gilbert
    "The Larry Sanders Show" begins its sixth season in top form, with no letup in its steady flow of spot-on sendups and ironic rubs. [13 Mar 1998]
    • Boston Globe
    • 97 Metascore
    • 100 Matthew Gilbert
    Chase has kept his vision unspoiled despite the torrents of praise, hyperbole, and Emmy nomination that have rained down on his show. Yes, the exhilarating sense of discovery that electrified the first season of "The Sopranos" is gone; the first cut is always the deepest. But last season's revelatory buzz is replaced by a certainty that this show has got legs, that the writing is as comic and edgy as ever, and that Chase has a few new monsters up his sleeve. [14 Jan 2000]
    • Boston Globe
    • 97 Metascore
    • 100 Matthew Gilbert
    Extraordinary. [2 Mar 2001]
    • Boston Globe
    • 96 Metascore
    • 100 Matthew Gilbert
    The show is back in magnificent form, with all its humor, psychological thorniness, and bleak tragedy intact. It remains the highest peak of series TV.
    • 88 Metascore
    • 100 Matthew Gilbert
    Riveting, gripping, and altogether compelling ... An innovative and expertly executed hour of suspense, '24' is without question the best premiere of the fall season. [6 Nov 2001]
    • Boston Globe
    • 93 Metascore
    • 100 Matthew Gilbert
    It is depressing, brilliant, hysterical, excruciating, full of irony, and nothing you'd ever expect to find on American network TV. Rather than sweetening the workplace with fantasies of a home away from home, "The Office" heightens the reality and disconnection of corporate life until it is absurdly funny. The show doesn't touch your heart so much as tickle your spleen. [9 Oct 2003]
    • Boston Globe
    • 80 Metascore
    • 100 Matthew Gilbert
    It also showcases Milch's taste for complexity when it comes to both the criminal mind and the lawman's motivations. [19 Mar 2004, p.D1]
    • Boston Globe
    • 88 Metascore
    • 100 Matthew Gilbert
    The future of TV comedy is a sick one, my friends. A gloriously, brilliantly, deliriously sick one, where a desperate housewife wears a "SLUT" T-shirt on a prison visit, a businessman sells prefab homes to Saddam Hussein, and a pudgy teen lusts after his first cousin. It's a ferociously Freudian future, replete with a pent-up mama's boy, a family-run banana stand, and a disbarred psychiatrist who wears cutoffs beneath his underwear because he's a "Never-nude." That's a phobia about nakedness he's trying to make into a nationally recognized condition...In short, it's Arrested Development. [7 Nov 2004, p.N4]
    • Boston Globe
    • 72 Metascore
    • 100 Matthew Gilbert
    Nip/ Tuck also remains gorgeously sick...The makers of Nip/ Tuck never keep it simple, which is simply excellent. [20 Sept 2005, p.C6]
    • Boston Globe
    • 93 Metascore
    • 100 Matthew Gilbert
    It's hard to know where to aim the praise first.
    • 87 Metascore
    • 100 Matthew Gilbert
    This is a great piece of TV work... Right from its opening minutes, after a flight to Australia has crashed on the shores of nowhere, ABC's Lost simulates the kind of dread we don't expect to find on the small screen. [22 Sept 2004, p.E1]
    • Boston Globe
    • 86 Metascore
    • 100 Matthew Gilbert
    Thanks largely to the presence of blowhard-par-excellence Denis Leary, who could be neither self-pitying nor unambiguously heroic if his life or his pack of cigarettes depended on it, it's one of the best series of the year.
    • 89 Metascore
    • 100 Matthew Gilbert
    Amazing. [20 June 2005, p.B7]
    • Boston Globe
    • 88 Metascore
    • 100 Matthew Gilbert
    The NBC series certainly has been one of TV’s most emotionally honest and stirring works, and it remains so as it enters its fourth season.
    • 91 Metascore
    • 100 Matthew Gilbert
    This extraordinary upstairs-downstairs drama, written by Oscar-winning "Gosford Park" screenwriter Julian Fellowes, is a dramatic, intelligent, soapy, comic, and wise piece of work, one that explores social shifts on the eve of World War I while delivering a remarkably engaging cast of characters.
    • 83 Metascore
    • 100 Matthew Gilbert
    Gabriel Byrne is in every minute of the show, delivering one of TV's most faceted and intriguing performances....All of the new characters promise to engage as their stories and backstories begin to unfold.
    • 73 Metascore
    • 100 Matthew Gilbert
    It offers a great cast, and some very tight, tart scripting. Each of the season's seven half-hours is a little sliver of pleasure.
    • 96 Metascore
    • 100 Matthew Gilbert
    A taut exercise in withheld disaster, Breaking Bad is riveting.
    • 79 Metascore
    • 100 Matthew Gilbert
    Ultimately, though, even with the fantasy, Game of Thrones feels like a historical medieval saga. It's a royal, and royally good, round of musical chairs.
    • 91 Metascore
    • 100 Matthew Gilbert
    Of all the drama pilots I watched, this was my favorite.
    • 98 Metascore
    • 100 Matthew Gilbert
    It's hard to imagine any other comedy series putting such a fitting cap on its run. [21 Oct 2004]
    • Boston Globe
    • 96 Metascore
    • 100 Matthew Gilbert
    The show doesn't seem to have lost any ballast moving forward from the intensity of season one.
    • 90 Metascore
    • 100 Matthew Gilbert
    The show beautifully depicts a massive game of musical chairs, a world at war with doom ever present just across the border.
    • 88 Metascore
    • 100 Matthew Gilbert
    AMC’s Mad Men returns for season 6 with two hours that are as rich and as deftly literary as anything in the history of the show. The premiere operates like a series of exquisitely written theatrical set pieces, one after another that add up to a moving, ironic, and often comic group portrait.
    • 82 Metascore
    • 100 Matthew Gilbert
    Beautifully written (by Richard LaGravenese) and directed (by Steven Soderbergh), Behind the Candelabra doesn’t quite fit into the biopic genre--simply because it is so good.
    • 90 Metascore
    • 100 Matthew Gilbert
    While The Corner may sound like just more preachy TV cliches about drug abuse and African-American self-destruction, it is so much more than that. It is about the life and death forces at war in that inner-city staple, The Corner, and it is a jarring introduction to the people behind the statistics and the cliches. I hope it finds an audience, despite its rawness. No one ever said great drama had to be pretty. [14 Apr 2000, p.D1]
    • Boston Globe
    • 93 Metascore
    • 100 Matthew Gilbert
    Back for its fourth season, Louie continues to be TV’s finest oddity.
    • 92 Metascore
    • 100 Matthew Gilbert
    It’s a fantastic return to the story, if you’re in no hurry for action and can admire show creator Ray McKinnon’s quietly fraught set pieces.
    • 70 Metascore
    • 91 Matthew Gilbert
    I love the suburban satire, which is old territory made fresh again. [Jane] Levy, from "Shameless," is tart and sympathetic, and [Cheryl] Hines is a revelation as a rabidly superficial mom.
    • 78 Metascore
    • 91 Matthew Gilbert
    The script is tight and ambitious, as it attempts to anatomize corruption in the big city.