Matthew Gilbert

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For 1,026 reviews, this critic has graded:
  • 46% higher than the average critic
  • 3% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 7.6 points lower than other critics. (0-100 point scale)

Matthew Gilbert's Scores

Average review score: 59
Highest review score: 100 Bleak House: Season 1
Lowest review score: 0 Twenty Good Years: Season 1
Score distribution:
1026 tv reviews
    • 84 Metascore
    • 100 Matthew Gilbert
    The Dresser is a British prestige blowout. It’s rich in commanding, frightening, and sad performances, all of which are in service of a beautifully layered script that takes on aging, missed opportunity, and dire regret.
    • 91 Metascore
    • 100 Matthew Gilbert
    What’s different about the second season of Master of None is a greater sense of auteurish confidence--a willingness to allude to movies, to toy with linear storytelling, and to artfully frame shots. ... That kind of playfulness and risk-taking wends in and out of the season with the kind of assurance usually seen in the work of more experienced TV and movie makers.
    • 94 Metascore
    • 100 Matthew Gilbert
    The drama remains as tense as ever, with strong, careful writing and an abundance of fine performances.
    • 92 Metascore
    • 100 Matthew Gilbert
    Of all the drama pilots I watched, this was my favorite.
    • 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.
    • 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
    • 80 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.
    • 85 Metascore
    • 100 Matthew Gilbert
    The acting is extraordinary.
    • 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
    • 79 Metascore
    • 91 Matthew Gilbert
    This show belongs to Driver. ... She’s a force--and a comic force, as she proved on “Will & Grace” and “About a Boy.”
    • 71 Metascore
    • 91 Matthew Gilbert
    The pilot is tremendous. It’s tightly plotted, and, despite being about terrorism like “24,” it brings Sutherland out of the shadow of can-do Jack Bauer.
    • 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.
    • 76 Metascore
    • 91 Matthew Gilbert
    The pilot is beautifully shaped, the themes of building your own meaning in life are smart, and the actors already seem to know their characters.
    • 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
    • 77 Metascore
    • 90 Matthew Gilbert
    As a TV antihero, Escobar is an enigma. But I can say that Narcos is nevertheless addictive, compelling, shocking, and even educational.
    • 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.
    • 92 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.
    • 75 Metascore
    • 90 Matthew Gilbert
    The path that Marcus and Jas take turns into a slippery slope very quickly. All their idealism and youth get twisted into unrecognizable shapes. It’s a tragedy, an old tragedy told anew, with vigor and insight, sadness and resonance.
    • 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.

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