Matthew Gilbert
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For 826 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

Average review score: 57
Highest review score: 100 Lost: Season 1
Lowest review score: 0 Sons Of Hollywood: Season 1
Score distribution:
826 tv reviews
    • 68 Metascore
    • 60 Matthew Gilbert
    The characters may be shallow, but that doesn’t keep the show from giving the easy pleasures of reading a quickie mystery novel. And a few of the actors are entertaining despite the limitations of the script.
    • 86 Metascore
    • 60 Matthew Gilbert
    Television doesn't get any more visceral than this, and you will not soon forget images of the sky exploding into a rainstorm of parachutes, planes, and fire over Normandy, or American soldiers stumbling across a German death camp tucked in the forest...But as episodic television storytelling, Band of Brothers is less successful, marred not only by loose plot threads and war cliches but also by an excess of indistinct characters. [7 Dec 2001, p.C1]
    • Boston Globe
    • 73 Metascore
    • 60 Matthew Gilbert
    You can feel creator Vince Gilligan (of "The X-Files") straining to build an emblematic American fable and forgetting to fill in his story with particularities and believable motivations.
    • 75 Metascore
    • 60 Matthew Gilbert
    Margulies and Noth--both of whom have a similarly dark appeal--are well-matched onscreen. Alas, if you feel a “but’’ or two coming, you would be correct. The problem I have with The Good Wife is something that mars too much TV: telegraphing.
    • 62 Metascore
    • 60 Matthew Gilbert
    I had hoped The Following' would be a more self-aware about its own violence... Instead, The Following simply goes for more generic thrills, using a lot of horror-story clichés including making the most virulent followers into boys and girls next door. It's a well put together show, so that the four episodes sent for preview flew by. But it doesn't invite bigger thoughts, which is what violent cable series such as "Dexter" and "Boardwalk Empire" have done at their best.
    • 61 Metascore
    • 60 Matthew Gilbert
    Galavant is a musical spoof of knight-in-shining-armor stories that is slight, unoriginal, and uneven, but that can be amusing and diverting nonetheless.
    • 59 Metascore
    • 60 Matthew Gilbert
    A slick effects extravaganza whose pilot episode kept me looking instead of enjoying.
    • 66 Metascore
    • 58 Matthew Gilbert
    I love this show, because I love the wide-eyed star, who is fully engaged in her role here. If you dislike her hipster adorability, though, beware.
    • 56 Metascore
    • 58 Matthew Gilbert
    The CW built this predictable teen supernatural romance as a companion to the similar and better "Vampire Diaries.".
    • 66 Metascore
    • 58 Matthew Gilbert
    With J.J. Abrams as an executive producer, this tech-driven "Early Edition" is shockingly lifeless. Caviezel's Clint Eastwood impression is flat, and Emerson is too darkly eccentric to keep the drama afloat.
    • 41 Metascore
    • 58 Matthew Gilbert
    The cast is an embarrassment of potential, but Dillon is wearing as a Drama-like dude; the cultural-obsession-with-youth trope is old; and the learning-to-be-a-man stuff is pat. It's very meh.
    • 68 Metascore
    • 58 Matthew Gilbert
    It’s straining to be TV’s new obsession, instead of a riveting drama.
    • 42 Metascore
    • 58 Matthew Gilbert
    The performances are relatively charming. ... But the script is so crammed with musty gender stereotypes and familiar dating tropes that everyone onscreen gets sucked into mediocrity.
    • 38 Metascore
    • 58 Matthew Gilbert
    Strain to be the next 'Seinfeld' much? But this one has a strong cast, and punchy one-liners.
    • 61 Metascore
    • 58 Matthew Gilbert
    It’s too broad and familiar to hold attention.
    • 66 Metascore
    • 58 Matthew Gilbert
    The ambition is impressive...But Morrison is a wooden lead, and the back stories--a random collection of fairy tales--don't promise to surprise.
    • 73 Metascore
    • 50 Matthew Gilbert
    The show is mildly entertaining at best, with a few pluses--unusual story lines, particularly the one set after World War II, some gorgeous scenery, and one or two likable performances--counterbalanced by a few negatives. Least tolerable among the negatives: the occasional Harlequin Romance moments that have you waiting for the lass to shed her corset while the evening wind blows through Fabio’s hair.
    • 67 Metascore
    • 50 Matthew Gilbert
    The CW remake isn't awful, by any means. The pilot rushes ahead nicely, with a twist at the end that gestures toward many possible future plotlines. But we've seen the whole thing many times before.
    • 45 Metascore
    • 50 Matthew Gilbert
    It's made of familiar slacker material that's slightly freshened with an improvisatory feel as the actors um-and-ah their way to their punch lines. And it's blissfully missing the canned laughs that make the likes of ''That '70s Show" so obnoxious. Still, ''Free Ride" is far from essential TV viewing.
    • 50 Metascore
    • 50 Matthew Gilbert
    The stereotypes in play on Accidentally on Purpose are flat, if harmless, from the get-go.
    • 55 Metascore
    • 50 Matthew Gilbert
    The show isn't awful, just awfully mediocre. [6 Oct 2000, p.D1]
    • Boston Globe
    • 48 Metascore
    • 50 Matthew Gilbert
    The regular characters are generic, and the plots are filled with holes. But as a mindless TV distraction bent on reminding us that the justice system is not perfect, ''In Justice" will do.
    • 69 Metascore
    • 50 Matthew Gilbert
    While the pacing and acting of the new show is admirable, it's an overtold story and its familiarity lessens the intrigue. Baby, maybe he wasn't born to run, and run, and run. [6 Oct 2000, p.D1]
    • Boston Globe
    • 75 Metascore
    • 50 Matthew Gilbert
    The material isn't nearly strong enough to support a full half-hour of TV.
    • 52 Metascore
    • 50 Matthew Gilbert
    As much as I like Parker and Kudrow and the subjects of later episodes such as Susan Sarandon and Spike Lee, I’m not sure I like them enough to care about their long-gone ancestors. It’s primarily when the stars’ family trees overlap with history--the Holocaust, for example, in Kudrow’s case--that the show feels like something more than Hollywood self-indulgence.
    • 60 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.
    • 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."
    • 56 Metascore
    • 50 Matthew Gilbert
    It’s too simple and straightforward for its own good. Adapted by screenwriter Richard Christian Matheson, the narrative travels from A to B to C with nary an unexpected twist or subtle discovery.
    • 72 Metascore
    • 50 Matthew Gilbert
    While the initial arrival of the dome is intriguing, the characters are not.
    • 75 Metascore
    • 50 Matthew Gilbert
    The script is a little too silly and lighthearted for its own good, undermining its cleverness with absurd plot twists. [11 July 2012, p.D1]
    • Boston Globe

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