Matthew Gilbert
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For 843 reviews, this critic has graded:
  • 45% higher than the average critic
  • 4% same as the average critic
  • 51% 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: 58
Highest review score: 100 Game of Thrones: Season 1
Lowest review score: 0 The Real Wedding Crashers: Season 1
Score distribution:
843 tv reviews
    • 93 Metascore
    • 100 Matthew Gilbert
    Back for its fourth season, Louie continues to be TV’s finest oddity.
    • 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
    • 71 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.
    • 77 Metascore
    • 91 Matthew Gilbert
    Let’s hope it can maintain the joy of the pilot and not fall into broad shtick.
    • 74 Metascore
    • 91 Matthew Gilbert
    Dern is fantastic as Amy--you cringe as her histrionics drive people away, and cringe again as she tries to suppress her feelings behind a veneer of New Age peacefulness.
    • 80 Metascore
    • 91 Matthew Gilbert
    This one could take off, especially if the humor doesn’t obscure the layers of Jane’s moral journey.
    • 63 Metascore
    • 91 Matthew Gilbert
    I don't know if it will catch on - westerns can be a hard sell - but it's another fine AMC choice.
    • 75 Metascore
    • 90 Matthew Gilbert
    It’s not as meticulous, cinematic, or original as those two shows ["Mad Men" and "Breaking Bad"], but it’s got the same kind of storytelling ambition. It’s the most vital new series of the year so far.
    • 82 Metascore
    • 90 Matthew Gilbert
    With season two, the drama has fully come to life, with moments of savagery, hypocrisy, and bittersweet loyalty that make it a must-see show.
    • 88 Metascore
    • 90 Matthew Gilbert
    The show isn't easy to warm up to, to be honest; it's draped in--and at times stifled by--meticulous period detail and too-perfect lighting, especially in Scorsese's premiere. But in episode two, the characters and the script begin to prevail, and the drama becomes more emotionally distinct and fascinating.
    • 79 Metascore
    • 90 Matthew Gilbert
    The Hour is not "Breaking Bad" good, or "Mad Men" good, but it's close.
    • 87 Metascore
    • 90 Matthew Gilbert
    Ed has enough potential to qualify as scary. Scary in a "Freaks & Geeks" maybe-I-shouldn't-get-too-attached kind of way. What I mean is that one of this fall's more promising new series is a romantic comedy that NBC seems ready to chuck to the wolves, as it did so tragically to "F&G" last year. [6 Oct 2000, p.D1]
    • Boston Globe
    • 91 Metascore
    • 90 Matthew Gilbert
    Based on the first three episodes, I'm thinking season 2 is going to be even better and certainly more consistent.
    • 91 Metascore
    • 90 Matthew Gilbert
    Right in the first episode, the relationships are well lived-in, the writing is honest and bound up with the actors, the tone effortlessly embodies drama, comedy, and life’s absurdities, the contemporary homes and locations click, and the ensemble acting is filled with little moments and jewels.
    • 85 Metascore
    • 90 Matthew Gilbert
    Unlike the majority of today's youth-market vehicles, Undeclared has been put together with a refreshing lack of cynicism (as well as a refreshing lack of laugh track). [25 Sept 2001, p.E1]
    • Boston Globe
    • 85 Metascore
    • 90 Matthew Gilbert
    This season as much as last, In Treatment brings us into more intimacy with its characters than almost any other series on TV.
    • 89 Metascore
    • 90 Matthew Gilbert
    When people ask me to recommend good TV, they never seem to have heard about it. Yup, Breaking Bad is that series.
    • 66 Metascore
    • 90 Matthew Gilbert
    [The] sentimental streak in the show is compensated by Frank's coldness and the scrappy urban realism, translated so effectively from the British original.
    • 88 Metascore
    • 90 Matthew Gilbert
    No, The Sopranos is not the equal of Scorsese's masterpiece ["Goodfellas"], but it manages to bring a new spin to the words "dysfunctional" and "family," and it deserves its place alongside other HBO gems like "The Larry Sanders Show" and "Sex and the City." [9 Jan 1999, p.C1]
    • Boston Globe
    • 88 Metascore
    • 90 Matthew Gilbert
    "Malcolm" is an instantly likable series, as it takes conventional TV-family material and gives it a good old-fashioned goose. [7 Jan 2000]
    • Boston Globe
    • 79 Metascore
    • 90 Matthew Gilbert
    Beyond the formulaic outline, White Collar, is actually one of the best new shows of the season.
    • 79 Metascore
    • 90 Matthew Gilbert
    A smart, exhilarating, well-written hour that, if anything, is a little naive about the folks who run our nation's most important office. [22 Sept 1999, p.E1]
    • Boston Globe
    • 77 Metascore
    • 90 Matthew Gilbert
    A really extraordinary new drama.
    • 84 Metascore
    • 90 Matthew Gilbert
    Created by Mike Judge, it does for techies, venture capitalists, and tech-biz campuses what Judge’s film “Office Space” did for cubicle dwellers, their bosses, and office parks back in 1999.
    • 84 Metascore
    • 90 Matthew Gilbert
    With none of the conventional plot techniques TV viewers are accustomed to, it is a collection of rich moments and poignant characters that loosely adds up to something quite powerful.
    • 92 Metascore
    • 90 Matthew Gilbert
    The writing remains remarkable, as it toggles between the rhythms and cliches of 1950s movies and the timeless resonance of mid-20th-century theater. You rarely find such economical and evocative scripting on TV.
    • 73 Metascore
    • 90 Matthew Gilbert
    The unfolding of the Parade’s End narrative has been directed (by Susanna White) and written to challenge--sometimes too much so. While you always understand the connections among the characters on “Downton,” you have to piece them together yourself in Parade’s End.... It’s the kind of demanding storytelling that differentiates “The Wire” from most other crime series.
    • 88 Metascore
    • 90 Matthew Gilbert
    This is the kind of TV that viewers ask for but rarely get, driven by characters who are more than the sum of one or two qualities and who harbor depths that are revealed slowly, subtly, and authentically.
    • 77 Metascore
    • 90 Matthew Gilbert
    Fiendishly excellent.

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