Matthew Gilbert

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For 1,018 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 Arrested Development: Season 2
Lowest review score: 0 Tuesday Night Book Club: Season 1
Score distribution:
1018 tv reviews
    • 77 Metascore
    • 60 Matthew Gilbert
    It’s an ambitious work that is always fascinating, if not always successful. When all is said and done, Boardwalk Empire may be TV’s best uneven series.
    • 47 Metascore
    • 60 Matthew Gilbert
    While it pales next to the original movie, it is an enjoyable Saturday-matinee-styled Western show with a charismatic cast and the potential for savvy plots reflecting the complications of race and violence in the post-Civil War West. [3 Jan 1998]
    • Boston Globe
    • 67 Metascore
    • 60 Matthew Gilbert
    The different elements hang together as a nicely faceted whole--until the final minutes, that is. Ultimately neither movie nor series, neither beginning nor end, Virtuality is a flight with no destiny.
    • 63 Metascore
    • 60 Matthew Gilbert
    The L Word will get some notice because of its frank, soft-core-tinged portrayal of lesbian sexuality. Just as gay men are neutered in the mainstream, shown only as fit, fashion-obsessed, show-tune-savvy fellas, gay women are still trying to shake the Boston marriage image.
    • 65 Metascore
    • 60 Matthew Gilbert
    Sedgwick ... deserves better than "The Closer," but she still makes TNT's conventional new homicide drama worth checking out. [13 Jun 2005]
    • Boston Globe
    • 52 Metascore
    • 60 Matthew Gilbert
    Olbermann is still Olbermann: left-leaning, punctuated by ironic humor, veering into bombast, and underpinned by sincerity. You'll just need to look a little harder in the far reaches of cable to find him.
    • 59 Metascore
    • 60 Matthew Gilbert
    It would be great to see the network come up with something as honest as, say, “My So-Called Life,” or as original and amusingly metaphorical as “Buffy the Vampire Slayer,” or as thought-provoking as a movie like “River’s Edge.” But in the meantime, a mostly happy dramedy like Chasing Life will do, marrying strong female roles with CW-style 20-something melodrama that’s as mindlessly angsty as the Bon Iver on the soundtrack.
    • 61 Metascore
    • 60 Matthew Gilbert
    These actors help save the show from pure whimsy and excess.
    • 63 Metascore
    • 60 Matthew Gilbert
    The show, from Greg Berlanti and Nicolas Wootton, does a good job of making Clark both appealing and overly ambitious.... What doesn’t work at all in the first two episodes of Golden Boy is the more familiar procedural material.
    • 61 Metascore
    • 60 Matthew Gilbert
    The familiar show, which is set in Boston but too clearly filmed elsewhere, adds in some romantic intrigue, as both Harmon and Alexander appear to be interested in the same FBI agent (Billy Burke). But the dominant theme on Rizzoli & Isles, as on "The Closer,'' is fighting crime and not fighting tears.
    • 58 Metascore
    • 60 Matthew Gilbert
    It's completely stupid, although somehow, on top of it all, it manages to pull out a laugh or two if you're willing to channel your inner juvenile.
    • 64 Metascore
    • 60 Matthew Gilbert
    'Kitchen Confidential" is the kind of new TV show that fits perfectly beside the adjective ''promising." Pilots sometimes strain to set up the entire series, and tonight's episode of ''Confidential" has its share of forced material.
    • 48 Metascore
    • 60 Matthew Gilbert
    There’s a hint of “Arrested Development” in the air, but Working the Engels is ultimately a much more common kind of dysfunctional family sitcom.
    • 53 Metascore
    • 60 Matthew Gilbert
    Jewel is a bit of a host-and-judge-bot, delivering her lines with a steely stiffness, but DioGuardi is usually worth listening to....Platinum Hit has a few flaws. The casting is far too predictable. All the songwriters are pretty and, with one or two notable exceptions, pushy.
    • 50 Metascore
    • 60 Matthew Gilbert
    "Million Dollar Listing" is a pretty collection of vignettes about people with money making more money, and it's a little obscene.
    • 51 Metascore
    • 60 Matthew Gilbert
    It succeeds as a charming, silly, and idealistic piece of whimsy along the lines of "In and Out."
    • 62 Metascore
    • 60 Matthew Gilbert
    Clearly, the action in ''Black. White." has been manipulated and edited to justify its existence as a spark-filled TV look at black-white relations. Indeed, the show... can be downright hokey. But it nonetheless pushes you into questions about your own behavior and feelings.
    • tbd Metascore
    • 60 Matthew Gilbert
    Donnie Loves Jenny is a reality show that delivers scenes that were clearly prefabricated, comments that were likely calculated for effect, and intimate moments that feel awkward because we are in the room.... And yet, I found the hour surprisingly endearing.
    • 72 Metascore
    • 60 Matthew Gilbert
    The two-part miniseries makes missteps aplenty, with tone and plot changes from the novel that will likely offend purists. But it nonetheless has a warm spirit and an original vision, which is more than I can say for Roman Polanski's rote 2005 version.
    • 62 Metascore
    • 60 Matthew Gilbert
    At this point, Scrubs has turned its original style into a formula; the fantasy sequences are more predictable, the earnest denouements are automatic. It’s a good formula, but one that’s no longer vibrant.
    • 64 Metascore
    • 60 Matthew Gilbert
    The Fox series' formula is pretty stock teen material, with immature guys and unsuspecting parents and ditsy girls, but it's got a few inventively surrealistic scenes and a breezy tone that make it worth watching. [22 Aug 1998, p.C4]
    • Boston Globe
    • 59 Metascore
    • 60 Matthew Gilbert
    [Piven] brings a contemporary delivery that is jarring in the context of all the period elements around him. Alas, in this particular entourage, which is filled with promise, Piven is the weak link.
    • 50 Metascore
    • 60 Matthew Gilbert
    Ultimately, ''Random 1" is a portrait of the giving spirit in action, not a fantasy show about happy endings.
    • 51 Metascore
    • 60 Matthew Gilbert
    [Scott's] vital, star-making turn in "Saved" comes as a surprise, as it makes his earlier work seem muted by comparison.
    • 58 Metascore
    • 60 Matthew Gilbert
    It's all extremely familiar material, despite plot tweaks here and there, and yet the show is still somewhat charming in its emphasis on idealism and bravery. Flimsy, but charming enough.
    • 63 Metascore
    • 60 Matthew Gilbert
    You won't be drawn to True Blood if you don't like a heightened, almost cartoonish atmosphere. Paquin, giggly but calmly assertive, is something of an acquired taste as Sookie.
    • 45 Metascore
    • 60 Matthew Gilbert
    It's just a little novelty, much like the plastic body fluids its characters are selling.
    • 74 Metascore
    • 60 Matthew Gilbert
    Ultimately, Fisher comes across like that overly intelligent, entertaining, articulate analysand who has her own story all figured out, but still doesn't know how to let it go.
    • 68 Metascore
    • 60 Matthew Gilbert
    It's good, but not quite inventive or mysterious enough to demand we swallow yet another serving of serial.
    • 43 Metascore
    • 60 Matthew Gilbert
    The show... is juvenile, vulgar, and crude, and yet, I still think it contains more sparks of originality than TV's top-rated comedy, "Two and a Half Men."
    • 64 Metascore
    • 60 Matthew Gilbert
    Without its classic, punk, and alternative allusions, the New York romantic comedy would be just another ''Sex and the City" with dudes, another ''Jake in Progress" or ''Four Kings." But with its musical knowing, ''Love Monkey" comes off more like a small-screen ''High Fidelity."
    • 50 Metascore
    • 60 Matthew Gilbert
    The dog-and-owner interplay ranges from the awesome and comic to the cringe-worthy.
    • 70 Metascore
    • 60 Matthew Gilbert
    It’s just fine, although it never strays outside the conventions of poignant coming-of-age stories. Everything about the show is too familiar. The sincerity is refreshing in an animated context, but the characters and the stories are old hat.
    • 66 Metascore
    • 60 Matthew Gilbert
    OK, watching celebrities get taken down does have its nice side. [20 Apr 2003, p.N5]
    • Boston Globe
    • 58 Metascore
    • 60 Matthew Gilbert
    The product tie-in is tiresome, but Wolk in particular, with his winks and grins, adds warmth as Williams’s cocky protege. He also rescues a few scenes in which Williams starts to drift into the nonsense stratosphere.
    • 48 Metascore
    • 60 Matthew Gilbert
    The new show from "Sex and the City" producer Darren Star, is a strained attempt to build another hit about four peacocky New York women who sip martinis and use the word "penis" as often as possible.
    • 48 Metascore
    • 60 Matthew Gilbert
    Is it strange to make good will and charity into a win-lose proposition? Is it peculiar to judge the givers on their manner of giving, to quantify their largesse? To me, yes, it is, and the show makes for awkward viewing as a result.
    • 52 Metascore
    • 60 Matthew Gilbert
    With its pleasing San Francisco locales and McKidd's sympathetic performance, "Journeyman" is entertaining enough.
    • 58 Metascore
    • 60 Matthew Gilbert
    None of the contestants are quite as memorable as their ideas, except for the man fighting for Saucy Balls. The judges are a little more vivid, remaining firm in their opinions and unafraid to reject proposals without much apology.
    • 68 Metascore
    • 60 Matthew Gilbert
    You won't be bored, as you strain to keep track of everything, and Isaacs, with his piercing eyes and reserve, is a great lead.
    • 51 Metascore
    • 60 Matthew Gilbert
    Barker is written as the stereotypical rogue cop who crosses the line into illegality, but Swayze's presence is complex enough to add mystery and weight that aren't in the script....[but] take Swayze and his gravitas out of the picture, and The Beast is a mediocre series that would probably lurk on the cable TV lineup without much notice.
    • 78 Metascore
    • 60 Matthew Gilbert
    We've seen all these characters countless times before in movie and TV westerns, but the actors give them distinction here.
    • 61 Metascore
    • 60 Matthew Gilbert
    Invitingly bizarre... [but] despite all the promise of its premise about the changeability of self, "Meadowlands" never quite rises to excellence.
    • 60 Metascore
    • 60 Matthew Gilbert
    "Shark" is a very conventional courtroom TV drama about a do-good lawyer, and its only distinction is the ferocious acting of Woods.
    • 70 Metascore
    • 60 Matthew Gilbert
    While The Path is engaging, and smart when it comes to portraying the strangeness of cult life, it suffers from a bad case of tonal overkill.
    • 54 Metascore
    • 60 Matthew Gilbert
    Defying Gravity is a perfectly decent bit of sci-fi soap - some cool “Star Trek’’ futurism, plenty of pretty “Grey’s Anatomy’’ ensemble melodrama, and a twist of eerie “Twilight Zone’’ mysteriousness when characters refer to the high-tech spaceship as if it has a will of its own.
    • 55 Metascore
    • 60 Matthew Gilbert
    So much about the Fox series is unseemly, and I don't just mean the commercial-to-show ratio and the sponsor plugs, which have been downright obscene. "American Idol," a new hybrid of reality TV and beauty pageantry, represents some of the crudest aspects of both network TV and the pop-music industry. ... And yet, and yet. "American Idol" remains addictive TV. [4 Sep 2002]
    • Boston Globe
    • 75 Metascore
    • 60 Matthew Gilbert
    Without any framing background information, this affectionate documentary and its continual monologues can feel a little too insidery and indulgent.
    • 54 Metascore
    • 60 Matthew Gilbert
    It's a contrived product, but the storytelling reveals the cases and their solutions nicely, if straightforwardly.
    • 67 Metascore
    • 60 Matthew Gilbert
    The lack of a human entry point renders the whole thing passionless. It's more of a slick contraption than a truly thrilling hour.
    • 69 Metascore
    • 60 Matthew Gilbert
    Entertaining, stylish, and, most of all, slight.
    • 70 Metascore
    • 60 Matthew Gilbert
    It's hard to know where The Middle will go after tonight's decent pilot. And that's part of the sitcom's promise, that it has the potential to blossom into a sweet if small celebration of a family of oddballs living distinctly unhip lives.
    • 75 Metascore
    • 60 Matthew Gilbert
    Ever respectful of its source, the miniseries doesn't add on sexuality so much as it seeks and finds character depth and dimensionality.
    • 61 Metascore
    • 60 Matthew Gilbert
    Parenthood is a fairly promising ensemble dramedy that shows TV expanding beyond an emphasis on nuclear families to look at broader family systems reaching from ages 5 to 75.
    • 54 Metascore
    • 60 Matthew Gilbert
    The wit of the historical re-creations, along with the excellence of the many guest actors in them (including, this season, Connie Britton, Kristen Wiig, Aubrey Plaza, Owen Wilson, and Jack McBrayer) helps to overcome the repetitiveness and slightness of the formula.
    • 69 Metascore
    • 60 Matthew Gilbert
    Ultimately, though, Amanda Knox: Murder on Trial in Italy isn't as sensational as it might have been. It unfolds without too much of the lurid caricature of so many other Lifetime movies.
    • 48 Metascore
    • 60 Matthew Gilbert
    But while it shows Heche at an advantage, the series itself is, to tap into the script's car-driving metaphors, just a rusty old vehicle.
    • 54 Metascore
    • 60 Matthew Gilbert
    It's a fun ride at first. The series is tightly plotted, and the twists create moments of satisfying intrigue ... But juicy plot turns alone cannot fuel a series for long, especially when they repeat themselves, and the limitations of "Falcone" become clearer in its second and third episodes. [4 Apr 2000]
    • Boston Globe
    • 60 Metascore
    • 60 Matthew Gilbert
    Known for asking tough questions and being the cranky "America's Got Talent" judge, Morgan was indeed surprising--surprisingly soft. He failed to press Oprah hard on any of her more touchy-feely answers. And yet his Barbara Walters-esque method worked, to some extent, since Oprah is not one to bend to pressure.
    • 64 Metascore
    • 60 Matthew Gilbert
    Revolution is just all right, no better, no worse.
    • 59 Metascore
    • 60 Matthew Gilbert
    USA's Fairly Legal is fairly good. OK, I hate myself for that. But the phrase "fairly good" just seems so right in this case.
    • 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.
    • 65 Metascore
    • 60 Matthew Gilbert
    [Dolly Parton's Coat of Many Colors] plays like a long-lost episode of “The Waltons” in which Jennifer Nettles and Ricky Schroder have stepped in as Ma and Pa. It’s a romanticized view of the past, to put it mildly, and it’s as sticky sweet as the caramel apple cider you might find at Dollywood.
    • 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.
    • 53 Metascore
    • 60 Matthew Gilbert
    A neatly conceived show that borrows from sources like Joseph Conrad's "The Heart of Darkness" and George Orwell's "1984." The plot is hard to summarize thoroughly - you'd need an instruction manual for that - but it unfolds easily on screen. [8 Oct 1999, p.D12]
    • Boston Globe
    • 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.
    • 64 Metascore
    • 58 Matthew Gilbert
    The movie moved me, but the show feels like it’s going to wear thin after the setup in the pilot.
    • 69 Metascore
    • 58 Matthew Gilbert
    The writers telegraph every single point, especially the sentimental ones, because subtlety can be so darn challenging. Bunbury, though, delivers an appealingly tough performance.
    • 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.
    • 45 Metascore
    • 58 Matthew Gilbert
    The weekly cases aren’t going to dazzle, based on the pilot. That means the cast has to shine, and it only flickers.
    • 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.
    • 52 Metascore
    • 50 Matthew Gilbert
    For conveying such a rich sense of authenticity alone, for showing us the physical rigors facing those whose goal is to challenge gravity, Flesh and Bone deserves praise. The actors playing dancers are all professional dancers, too, so that the practice scenes are lovely and don’t require much dodgy camerawork. The storytelling, alas, leaves something to be desired.
    • 55 Metascore
    • 50 Matthew Gilbert
    The show isn't awful, just awfully mediocre. [6 Oct 2000, p.D1]
    • Boston Globe
    • 47 Metascore
    • 50 Matthew Gilbert
    The show offers up a stale fantasy, but it does have a few fresh moments.
    • 51 Metascore
    • 50 Matthew Gilbert
    After his good work on “Community,” McHale is slumming with this one-joke piece of network business.
    • 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
    • 72 Metascore
    • 50 Matthew Gilbert
    The movie is so carefully stylized, any and all emotional import has been sucked out of it.
    • 56 Metascore
    • 50 Matthew Gilbert
    An uneven buddy comedy about two women who deliver weed--excuse me, two women who, as they put it in polite company, run a “legal prescription delivery service.”
    • 46 Metascore
    • 50 Matthew Gilbert
    Secret Girlfriend could add up to something worthwhile, with more of that kind of elliptical character revelation and fewer generic dirty-boy adventures. Ultimately, I want to know more about “you,’’ not them.
    • 60 Metascore
    • 50 Matthew Gilbert
    The pluses of the show include watching Leary have a good time and seeing the way the cast gels around him.... Other TV series set in the music business--“Nashville,” “Empire”--have a lot more genre awareness and seem to make the characters’ enthusiasm believable enough. But on Sex&Drugs, even the costumes appear generic and unrealized.
    • 79 Metascore
    • 50 Matthew Gilbert
    Much as I am compelled to watch "24," and admire its craft, I find that I can't take it seriously.
    • 47 Metascore
    • 50 Matthew Gilbert
    Reality hilarity, and tons of fast editing and confessional commentary, ensue.
    • 73 Metascore
    • 50 Matthew Gilbert
    While it succeeds nicely on some of these fronts, at times managing to be gripping and thought provoking, it fails to cohere on other fronts, as writer Jack Thorne crams too many characters and too much story into a half-dozen hours.
    • 61 Metascore
    • 50 Matthew Gilbert
    It's too bland to elicit very strong feelings either for or against. It's a legal drama with the same kind of buddy dynamic as "Psych" and "White Collar," and by the end of the hour--or, just for tonight, the hour and 20 minutes--I felt like shrugging my shoulders.
    • 65 Metascore
    • 50 Matthew Gilbert
    It’s not boring, thanks to strong performances by Christopher Plummer as the ailing Justice John Marshall Harlan and Frank Langella as conservative Justice Warren E. Burger. But still, the loose script, by Shawn Slovo, doesn’t drive home the size and intensity of the moment.
    • 48 Metascore
    • 50 Matthew Gilbert
    HawthoRNe seems bent on being reverential, complete with musical montages meant to break our hearts. It's not awful, by any means, just too good to be true.
    • 60 Metascore
    • 50 Matthew Gilbert
    It’s hard to fault a drama that celebrates altruism and tries to glamorize social conscience. But I found myself cringing at the condescending scenes of our rich white savior wandering among the Africans with their colorful outfits and drum music, his checkbook at the ready in case he needs to bribe a local.
    • 44 Metascore
    • 50 Matthew Gilbert
    Reilly, who is British but who has a convincing American accent, is a sturdy lead. She nicely holds her own in her confrontational scenes with Redgrave. She projects an intelligence that is essential to her role, and in her manic scenes--dancing alone on a balcony ledge or becoming hypersexual--she manages to keep from sliding into full-on caricature. But the writing is too often lazy.
    • 51 Metascore
    • 50 Matthew Gilbert
    The premiere... doesn't inspire an instant commitment the way the premieres of "Prison Break" and "24" did.
    • 45 Metascore
    • 50 Matthew Gilbert
    The Playboy Club plods forward with no ballast, hoping that the vibrant early '60s music and the miles of bunny cleavage will compensate for the lack of original plotting and characters.
    • 50 Metascore
    • 50 Matthew Gilbert
    The show isn't a debacle, but it's a disappointing comedy that doesn't live up to an interesting premise.
    • 51 Metascore
    • 50 Matthew Gilbert
    If you like some of those undemanding USA shows, you just might cotton to this one. Taxi Brooklyn requires no thinking--in fact, it discourages thinking. Ido is winning, too, which helps matters.
    • 57 Metascore
    • 50 Matthew Gilbert
    Like AMC’s “Hell on Wheels,” the show inspires all kinds of middling adjectives--decent, average, fair, and all right. It’s not bad, but it’s not quite good, either.
    • 73 Metascore
    • 50 Matthew Gilbert
    The problem with the miniseries, written by Peter Harness and directed by Toby Haynes, is its lack of emotional potency, at least in the first two episodes. At moments, the amazingly constructed magical set pieces threaten to overwhelm both the fine points of the plot and the wonderful performances.
    • 69 Metascore
    • 50 Matthew Gilbert
    It all feels like “Curb”-cutting-room-floor material set atop a feeble plotline and a group of unrealized and disposable supporting performances. Clear History is pretty, pretty average.
    • 64 Metascore
    • 50 Matthew Gilbert
    You have one of the most complex and mixed-up and irritating mythology soufflés ever to be delivered in a single pilot.
    • 58 Metascore
    • 50 Matthew Gilbert
    It's a sweet, somewhat bland portrait of an Everygirl coming of age in suburban Connecticut in the 1980s, dealing with the class Heathers--here, they're Donna LaDonna and the two Jens--and crushing on the cutie transfer student with long blond hair.
    • 63 Metascore
    • 50 Matthew Gilbert
    Benched isn’t awful, but it’s much too formulaic.
    • 70 Metascore
    • 50 Matthew Gilbert
    Despite its unique premise, the show delivers little more than network sitcom material tarted up with cable raciness. [5 Aug 2005]
    • Boston Globe
    • 62 Metascore
    • 50 Matthew Gilbert
    The style of the telling--heavy and, ultimately, hollow--perfectly matches the substance of the story. But of course that lugubrious style makes House of Saddam a slog, even while it is precisely paced and seamlessly directed.
    • 49 Metascore
    • 50 Matthew Gilbert
    There is nothing exceptional or original about the show.
    • 52 Metascore
    • 50 Matthew Gilbert
    Frontier is moderately entertaining, but consistently unchallenging.
    • 57 Metascore
    • 50 Matthew Gilbert
    Ultimately, you'll want to think about Dollhouse more than you'll want to think about watching Dollhouse.
    • 63 Metascore
    • 50 Matthew Gilbert
    As actors, Lowe and Mitchell are burdened with shamelessly expository dialogue in which they must pretend to talk to each other when they're actually just explaining the case to viewers.
    • 65 Metascore
    • 50 Matthew Gilbert
    The Cheezburger team is vaguely entertaining, a reality counterpart to "The Office."
    • 68 Metascore
    • 50 Matthew Gilbert
    You've got to be something of a Bette-a-holic to take this much of Midler's raging insecurities and slapstick stylings on a weekly basis. Even when she's missing from a scene in "Bette," which is rare, the rest of the show's character ensemble is fixated on her and her bottomless pit of need. [11 Oct 2000, p.C1]
    • Boston Globe
    • 55 Metascore
    • 50 Matthew Gilbert
    The show is gloomily sincere and uneven.
    • 48 Metascore
    • 50 Matthew Gilbert
    The boilerplate talk format was reminiscent not only of Leno’s “Tonight Show,’’ but of almost every other late-night talker on the air right now.
    • 68 Metascore
    • 50 Matthew Gilbert
    [Writer-director Steve Conrad] tries all kinds of ways to dodge genre expectations and come up with something distinctive. His ambition is consistent, even when his success rate isn’t.
    • 67 Metascore
    • 50 Matthew Gilbert
    The new series works just OK. The problem is, there actually isn't much of a need for the two dopes and their anti-wisdom anymore.
    • 48 Metascore
    • 50 Matthew Gilbert
    It's not half bad, but then it's not even a quarter original.
    • 61 Metascore
    • 50 Matthew Gilbert
    The show is neither here nor there, neither amusing nor affecting. It doesn't really call out for further viewing, which is not so unusual at all.
    • 52 Metascore
    • 50 Matthew Gilbert
    The raunchy comedy on The League had me laughing out loud a few times, but mostly I felt as though I’d seen it all done better before.
    • 80 Metascore
    • 50 Matthew Gilbert
    The show is a grim spectacle, and juicy bait for end-of-the-world addicts such as myself. But the living people in The Walking Dead, those uninfected with the mysterious virus, they are far less compelling.
    • 64 Metascore
    • 50 Matthew Gilbert
    Nothing appears to be particularly lived-in, but the look of Breathless is nonetheless breathtaking. That’s very good news for a story that tends to linger on the surface.
    • 57 Metascore
    • 50 Matthew Gilbert
    Ultimately the whole endeavor will feel more like hide and seek--the writers hide the answers that the audience seeks to find, traveling down dead ends until the big mystery is solved. It’s TV show as Clue board.
    • 67 Metascore
    • 50 Matthew Gilbert
    There are attempts to humanize the LGBT story, to give the epic some intimacy and specificity by following three activists in San Francisco across the years--feminist Roma Guy, community organizer Ken Jones, and Cleve Jones, mentee of Harvey Milk and founder of the AIDS quilt. But those stories, like so much here, ultimately feel reductive and superficial, lost in the process of following every twist in the rights struggle, and making each twist comprehensible to unaware viewers.
    • 68 Metascore
    • 50 Matthew Gilbert
    It’s fun at times to make the comparisons with the original comic, to see just how far Riverdale strays. But that compare-and-contrast can take you only so far in the face of such derivative writing.
    • 50 Metascore
    • 50 Matthew Gilbert
    It goes through the motions quite competently and respectably. But it is nonetheless merely re-creating crime-series moves we've all seen many times before, with only the faintest afterimage of originality.
    • 65 Metascore
    • 50 Matthew Gilbert
    Sure, it's nice to see Belushi in a new incarnation, and if I were trapped at a car repair shop in front of an episode I might be happy. But there are much better shows out there right now, and only so many hours in my day--and on my DVR.
    • 55 Metascore
    • 50 Matthew Gilbert
    It’s a straightforward piece of work that, with some deepening of characters and a few detours from too well-trodden plot paths, could be a decent addition to the TNT lineup.
    • 57 Metascore
    • 50 Matthew Gilbert
    No, not hooked on this generic-looking crime-solver. The premise is nonsensical.
    • 66 Metascore
    • 50 Matthew Gilbert
    You will absolutely, one hundred percent love every second of Showtime's new series, The Borgias. If you are a set designer, that is. Or a costumer. Otherwise, you might be mildly entertained and yet still feel a gnawing hunger for something more--a flavor shot or two with your creme de la creme.
    • 53 Metascore
    • 50 Matthew Gilbert
    If someone turns down the volume, ''Out of Practice" has the potential to become a likable, if conventional, sitcom.
    • 63 Metascore
    • 50 Matthew Gilbert
    If you don’t think too much about details and leaps in logic, The 100 moves forward swiftly. But the characters seem stuck in place, with one foot placed firmly in central casting. They’re bland, no ish about it.
    • 65 Metascore
    • 50 Matthew Gilbert
    We don’t get enough of a sense of the characters’ ordinary emotional lives, which means we can’t easily bond with them; we only see their feverish flares of anger and their smoldering discontent as the episodes run forward. If we could spend a few subtle minutes with a character such as Kevin, look into his eyes and feel his sorrow, the show would have a more honest emotional potency.
    • 70 Metascore
    • 50 Matthew Gilbert
    The show digs into the issues too quickly, and with too much intensity, and the drama suffers. [22 July 2003, p.E1]
    • Boston Globe
    • 48 Metascore
    • 50 Matthew Gilbert
    Secrets and Lies isn’t sloppy, based on the first two hours; it’s well-organized enough, and decently shot. But it promises to be a hollow exercise signifying nothing much.
    • 30 Metascore
    • 50 Matthew Gilbert
    The underwhelming cast brings nothing to the boilerplate action. Kelly is miscast as a biker chick, and making Bosley a hunk with computer skills fails to add life.
    • 58 Metascore
    • 50 Matthew Gilbert
    It's a bit of a mess. I found myself wishing that the series, which tracks a loosely knit group of nine friends in the Washington Heights area of New York, actually had more direction.
    • 72 Metascore
    • 50 Matthew Gilbert
    The actors aren’t bad at all, but the script seems to block them from deepening their performances and coloring in the gray along the way.
    • 64 Metascore
    • 50 Matthew Gilbert
    There were no attempts during the hour to tweak the tiresome late-night moves for cable, to expand beyond what late night TV means on the networks.
    • 57 Metascore
    • 50 Matthew Gilbert
    The problem with Beggars and Choosers is that it's all too familiar, and too safe. It relies on a generic cynicism about the media, seemingly unaware that 23 years after "Network," we fully understand the ironies inherent in the TV industry. [19 June 1999, p.A14]
    • Boston Globe
    • 52 Metascore
    • 50 Matthew Gilbert
    It's a gathering of familiar material that never quite distinguishes itself. I'd say the show is a "mash-up'' of its many influences, but that word implies intentionality and he Gates seems more like a lazy assemblage of cliches.
    • 46 Metascore
    • 50 Matthew Gilbert
    It's an average piece of work, crammed with every frat-boy cliche you can imagine, and cast with actors who don't initially stand out.
    • 56 Metascore
    • 50 Matthew Gilbert
    As the writing on Blunt Talk bounces between inspired insanity and stupidity, Stewart remains enjoyable. With his authoritative chewing of scenery, he rises far above the show’s unevenness and overcrowded flock of supporting characters.
    • 63 Metascore
    • 50 Matthew Gilbert
    As entertaining as the crazy can be, there's an undercurrent of pathos in Celebrity Apprentice, hidden in the way these people bow to "Mr. Trump" and submit to the contrived challenges as if they're in rehab cleaning toilets.
    • 41 Metascore
    • 50 Matthew Gilbert
    Some of the performances were strong -- Aguilera actually managed to make good with her yodel on "It's a Man's Man's Man's World." And some were underwhelming -- the Chili Peppers singing a listless "Snow (Hey Oh)" amid crazy confetti.
    • 43 Metascore
    • 50 Matthew Gilbert
    Based on the first two episodes available for preview, the biography, authorized by the 90-year-old Hugh Hefner, unfolds like a bland, hagiographic promotional tool or an affectionate eulogy for the magazine, it’s hard to tell which.
    • 68 Metascore
    • 50 Matthew Gilbert
    The scripts pander too much to the sensibility they should be mocking - that Hollywood is a playland for big boys with an eye for scrawny women. Entourage doesn't need to become moralistic or politically correct, just self-aware. If the writers took another step back from their immature characters, the show's satirical edge might be sharper. [16 July 2004, p.C1]
    • Boston Globe
    • 60 Metascore
    • 50 Matthew Gilbert
    The show aims for emotional realism one minute, farce the next, and sitcom-like goofing the next, and it all never quite hangs together naturally.
    • 70 Metascore
    • 50 Matthew Gilbert
    When The Chair highlights the differences between its two stars, it is engaging and enlightening.... However, the show is significantly less interesting during some of the conversations that surround some of the decision-making.
    • 72 Metascore
    • 50 Matthew Gilbert
    24 makes a feint toward change, before getting back on the same old mechanical cowboy ride.
    • 49 Metascore
    • 50 Matthew Gilbert
    Amid the dated material and the forced efforts to create catchphrases on Undateable, there is some skill in evidence.
    • 57 Metascore
    • 50 Matthew Gilbert
    The Memphis location is meant to add distinction, but it doesn't quite work. The setting and the musical references seem oddly artificial, right down to Lee's stage performance, for which his voice has been dubbed.
    • 72 Metascore
    • 50 Matthew Gilbert
    The series as a whole has a much better sense of itself, and a more confident tone, since Eli, his colleagues, and the viewers all understand that the guy is in fact a visionary. The coyness of season one is gone. The show, cocreated by Greg Berlanti, nonetheless falls short of being destination television.
    • 64 Metascore
    • 50 Matthew Gilbert
    It’s nice to see Fox in primetime again, and he isn’t the problem with the show. The problem is the writing, which is domestic comedy at its laziest. You’ve seen this material before, and before that, too.
    • 41 Metascore
    • 50 Matthew Gilbert
    The show is an extremely mixed bag, but he's an extremely likable extreme interventionist.
    • 67 Metascore
    • 50 Matthew Gilbert
    After the electrifying start, Fringe unfolds as an uneven, unwieldy piece of work that provides very few chills and thrills.
    • 63 Metascore
    • 50 Matthew Gilbert
    Maybe if the individual fragments in Sense8 were better written, the uber-plot wouldn’t matter quite as much. The Sense8 stories are beautifully shot, including some fabulous action sequences; but they’re rooted in familiarity, formula, and cultural clichés.
    • 40 Metascore
    • 50 Matthew Gilbert
    I love the way Allen Gregory talks down to every adult he encounters, as if they're members of a lower species. But the world built around that core of satire is a lot less promising.
    • 42 Metascore
    • 50 Matthew Gilbert
    The show has an earnest tone that deadens some of the comedy, and there are a few too-obvious attempts at cuteness, notably a sequence in which Stern takes over a ballet class filled with little girls. But it's never brash or bottom-feeding, and it kindly avoids the use of a laugh track. Like most filler series, Danny is mild and predictable from top to bottom.
    • 51 Metascore
    • 50 Matthew Gilbert
    The futuristic visual effects are mildly entertaining, but the story line becomes tedious and morally defanged by the end of the pilot.
    • 57 Metascore
    • 50 Matthew Gilbert
    As with “Minority Report,” you don’t need to be a pre-cog to predict that Limitless will continue to fill up the middle with lots of middling material.
    • 64 Metascore
    • 50 Matthew Gilbert
    Written by Michael Hirst , who also wrote about Henry's daughter in Cate Blanchett's "Elizabeth," the series goes only rock-opera deep, moving full-steam ahead without much accounting for character motivation.
    • 65 Metascore
    • 50 Matthew Gilbert
    Alas, the seductive, interesting surface of "Carnivale" can't mask its facile pretensions. [12 Sep 2003]
    • Boston Globe
    • 65 Metascore
    • 50 Matthew Gilbert
    Sordid Lives: The Series has a decidedly amateurish tone, with shoddy production values and acting that shows some seams. But the tone works in the show's favor.
    • 67 Metascore
    • 50 Matthew Gilbert
    Essentially, Mary and Martha operates like an EZ-to-read Lifetime movie with HBO production values.
    • 37 Metascore
    • 50 Matthew Gilbert
    The show doesn't aim very high. It's only a little bit more than just another network sitcom about marital conflict and about how men will be men.
    • 60 Metascore
    • 50 Matthew Gilbert
    If Mad Love pushes toward a more distinctive identity and grows beyond TV's standard two-couple romantic situations, there may be hope.
    • 58 Metascore
    • 50 Matthew Gilbert
    This is a show that takes a very long while to find a stable tone and settle in. It veers recklessly and off-puttingly between brash one-liners and angst drama, between kooky times and personal tragedy, like a nervous guest doing stand-up at a shiva.
    • 59 Metascore
    • 50 Matthew Gilbert
    It feels more like a programming move than a creative endeavor.
    • 44 Metascore
    • 50 Matthew Gilbert
    The show moves along briskly, and it benefits from the lack of a laugh track. But you have to accept the relentless repetition of some flagrantly juvenile jokes to enjoy yourself.
    • 74 Metascore
    • 50 Matthew Gilbert
    The Blacklist doesn’t waste time making sense, as the focus zooms all over Washington, D.C. Too often, it seems more like a blueprint for a show than a show.
    • 53 Metascore
    • 50 Matthew Gilbert
    Instead of breaking new ground, Crusoe falls back on hokey Saturday matinee swashbuckling, a treasure map, explosions, and jungle sets with fake torches that invite you to look for "Survivor" host Jeff Probst around the next boulder.
    • 61 Metascore
    • 50 Matthew Gilbert
    MTV's scripted choices so far, including "Skins" and "The Hard Times of RJ Berger," have been interesting but ultimately disappointing. And Teen Wolf, so bland from the get-go, doesn't promise to change that streak.
    • 56 Metascore
    • 50 Matthew Gilbert
    It’s a bland, cliched kind of offbeat, as she teases him and he teases her in an all too familiar manner.
    • 48 Metascore
    • 50 Matthew Gilbert
    It’s just another case-of-the-week procedural, and McPhee seems out of place.
    • 47 Metascore
    • 50 Matthew Gilbert
    Roadies, with its cutesy characters, doesn’t bring him back to his early glory so much as remind us how far he has drifted from it. Crowe’s bona fides do show in Roadies, in the elaborate backstage settings and in the way they’re filmed as a kind of amusement park ride.
    • 54 Metascore
    • 50 Matthew Gilbert
    How I wish the rest of Into the Badlands rose to the occasion of the phenomenal choreography. The story lines and the characters aren’t disastrous, by any means, but they’re disappointing as they fall into the action, post-apocalyptic, and family-soap formulas we’ve seen many, many times before.
    • 67 Metascore
    • 50 Matthew Gilbert
    "Casanova" is a giddily unconventional tale of an adventurous youth, but then it's also a stock and inflated portrait of old age.
    • 55 Metascore
    • 50 Matthew Gilbert
    Sutter has invented a harsh world that, despite its resemblance to “Game of Thrones” and some of TV’s medieval-set series, has its own distinct identity, too, with hallucinogenic visions and twisted characters (including a sheep lover) amid portentous political struggles.... All the Annora and Dark Mute business put me in mind of a show that I definitely should not have been thinking about while watching The Bastard Executioner, namely the cheesy supernatural daytime soap opera “Dark Shadows.”
    • 55 Metascore
    • 50 Matthew Gilbert
    Neither the plot nor the characters are sufficiently evocative to suggest that viewers will want to spend months, much less years, following them.
    • 42 Metascore
    • 50 Matthew Gilbert
    There are a few successful jokes here and there, and some able physical comedy involving Bornheimer and Gathegi, but those moments get lost in the shuffle of predictability.
    • 58 Metascore
    • 50 Matthew Gilbert
    There’s a bit of a plot swerve at the end of the episode.... [which] suggests that with time, Graceland might venture into some ambiguous territory. Right now, it’s looking as stuck in the past as Elvis’ estate.
    • 56 Metascore
    • 50 Matthew Gilbert
    The new Beaches, directed by Allison Anders, is even less substantial as it goes through the motions of a tearjerker. It’s like a CliffsNotes of a CliffsNotes of a melodrama.
    • 29 Metascore
    • 50 Matthew Gilbert
    Despite all its contrived reality melodrama, ''American Inventor" features a steady stream of entertainingly kooky and cool creations.
    • 51 Metascore
    • 50 Matthew Gilbert
    The miniseries is an ordinary but not awful piece of science fiction, one you won't hate watching and yet one you shouldn't hate missing.
    • 47 Metascore
    • 50 Matthew Gilbert
    It stays old school and unambitious in order to blend in well with the classic sitcoms on TV Land's roster. The scripts are more like excuses for the stars to go on camera and ham it up than well-constructed state-of-the-art comic material.
    • 63 Metascore
    • 50 Matthew Gilbert
    None of the story lines, from the young maid’s love of her boss’s son to the murder plot, promises to defy expectations. All the show’s potential gets crushed under the weight of over-familiarity and Cherry’s cookie-cutter technique.
    • 49 Metascore
    • 50 Matthew Gilbert
    Kelley's fascinating concept--the personal and sexual politics of an open marriage--is stifled by CBS prime-time superficiality and an inability to intimately explore intimate subject matter.
    • 61 Metascore
    • 50 Matthew Gilbert
    Dreyfuss impressively keeps Madoff’s villainy human-scaled and, at times, petty, and therefore more potent. The miniseries that is constructed around him, though, is flat and simplistic, with none of the intelligence and intrigue that has elevated other stories set in high finance, “Billions” and “The Big Short.”
    • 53 Metascore
    • 50 Matthew Gilbert
    We've seen this on-the-lam material many times before, and it offers very familiar family tensions.
    • 38 Metascore
    • 42 Matthew Gilbert
    The slick action is soulless, the voice-over is awkward, and Till isn’t faceted enough to add a human dimension.
    • 36 Metascore
    • 42 Matthew Gilbert
    The writers deliver a stale idea.
    • 48 Metascore
    • 42 Matthew Gilbert
    Standup comic Cummings has potential, but no one could overcome these dated relationship cliches.
    • 54 Metascore
    • 42 Matthew Gilbert
    You have to be a huge Gruffudd fan to stick with this one. And I’m not.
    • 55 Metascore
    • 42 Matthew Gilbert
    It should be more original, and the characters should be less forgettable.
    • 39 Metascore
    • 42 Matthew Gilbert
    This is a throwback to mediocrities like “Still Standing” that gave us chubby hubbies acting like big kids and pretty wives who have to boss them around.
    • 57 Metascore
    • 40 Matthew Gilbert
    The show might even have been engaging, if the one-liners came less frequently and the characters had a little more dimension. As it is, Sheldon and Leonard are merely laughable, if sweet, and they are even less fleshed out than the characters on "Two and a Half Men."
    • 61 Metascore
    • 40 Matthew Gilbert
    The humor is madcap and inane where it should be wry, and the characters are stubbornly predictable. The editing of the show is swift and bouncy, as it is on "Burn Notice,'' but still the hour drags. It's just not much fun.
    • 59 Metascore
    • 40 Matthew Gilbert
    Watching a comedy about a has-been trying to gain relevance shouldn’t feel quite this dated.
    • 41 Metascore
    • 40 Matthew Gilbert
    Little more than an empty vehicle for clever jokes on America since 9/11. [30 Apr 2005]
    • Boston Globe
    • 31 Metascore
    • 40 Matthew Gilbert
    Despite the actresses' happy energy, ''Hot Properties" falls into terribly familiar comic territory.
    • 67 Metascore
    • 40 Matthew Gilbert
    "Freak Show" aspires to be both infantile and yet politically and socially astute, and it falls short on the latter. The satire doesn't quite hit its marks.
    • 48 Metascore
    • 40 Matthew Gilbert
    Sullivan & Son is a contrived sitcom with nothing original or new to offer.
    • 46 Metascore
    • 40 Matthew Gilbert
    This show amounts to yet another example of the pains people will take to appear on TV. By the end of the premiere, even the crabs are starting to look a little bored.
    • 64 Metascore
    • 40 Matthew Gilbert
    The story wanders slowly and aimlessly when it should be tumbling toward a climax. It’s a ride on flat terrain.
    • 64 Metascore
    • 40 Matthew Gilbert
    When the show isn't creeping us out with its grim atmosphere and effects, it's undermining its own potential with a self-consciously cutesy gang of heroes, ill-advised humor, and illogical situations.
    • 44 Metascore
    • 40 Matthew Gilbert
    The three couples featured on Perfect Couples take on predictable lifestyle issues such as mancaves and game night with all the spark of a wet matchbook.
    • 58 Metascore
    • 40 Matthew Gilbert
    The science and deduction on C.S.I. is mildly interesting, if grim, but the show's small forensics team, including actors William Petersen and Marg Helgenberger, is as cliched as they come. From the forced co-worker banter to the second-rate office dramas, the ensemble is as lively as a trip to the morgue. [6 Oct 2000, p.D1]
    • Boston Globe
    • 49 Metascore
    • 40 Matthew Gilbert
    It’s a 100 percent predictable sitcom about singles who machine-gun one-liners at one another in the bars and bedrooms of Manhattan.
    • 52 Metascore
    • 40 Matthew Gilbert
    The cases themselves are weakly constructed, with more holes than a box of doughnuts.
    • 59 Metascore
    • 40 Matthew Gilbert
    "The Class" will never be smart, or clever, or original, but it does have a chance of becoming inoffensive and diverting.
    • 42 Metascore
    • 40 Matthew Gilbert
    It's not a cool-science show, but its crimes blur together with what we already see on the ''CSI" series, and its supporting cast is indistinct.
    • 59 Metascore
    • 40 Matthew Gilbert
    The show could have been a fascinating dissection of self and Bean’s performance could have been tied to something expansive. But Legends is knee-deep at best, relying on feeble plots of the week and high-tech wizardry that borders on the unintentionally comic. The supporting cast is as shallow as Bean is deep.
    • 45 Metascore
    • 40 Matthew Gilbert
    The action may be as fast and persistent as a gurney on the way to an operating theater, but nothing can hide the wobbly scripting and weak characters it’s all riding on
    • 66 Metascore
    • 40 Matthew Gilbert
    The premiere is sloppily made, as it careens loosely among plotlines and characters, but Morgan is a worthy character played by a promising young actor.
    • 53 Metascore
    • 40 Matthew Gilbert
    The characters are so shallow, it's hard to invest interest in them.
    • 52 Metascore
    • 40 Matthew Gilbert
    Thomas, who has shown more originality with "Veronica Mars" and his new Starz series "Party Down," seems bent on making this concept work, despite its impossibly flat premise.
    • 56 Metascore
    • 40 Matthew Gilbert
    The middling show plays too much like “The O.C.’’ with swords, crowns, and a cheesy CGI dragon (voiced by John Hurt).
    • 56 Metascore
    • 40 Matthew Gilbert
    It's too bad Body of Proof is so unambitious and, at times, clumsy, as it goes through the motions of solving murder mysteries. If the writing were fresher, Delany might have a better chance of finally creating a dynamic and successful drama.
    • 57 Metascore
    • 40 Matthew Gilbert
    Scream ... isn’t completely awful. It’s just thoroughly mediocre, with a cast of actors who are generically pretty playing characters who are generic types.
    • 47 Metascore
    • 40 Matthew Gilbert
    Valentine is sweet and amusingly cheesy but quite forgettable.
    • 61 Metascore
    • 40 Matthew Gilbert
    Despite a good cast led by Jonny Lee Miller as Eli, and despite the happy San Francisco setting, Eli Stone is a bag of too-familiar tricks.
    • 47 Metascore
    • 40 Matthew Gilbert
    Southie Rules definitely has the characters. That's the positive news.... [But] Southie Rules is woefully short on story line, and so the producers have clearly set up situations and edited episodes in order to provide viewers with a narrative.
    • 38 Metascore
    • 40 Matthew Gilbert
    It’s actually kind of depressing just how obviously “The Deep End’’ has been constructed of used parts from the likes of “LA Law,’’ “The Practice,’’ “Boston Legal,’’ “Damages,’’ “Eli Stone,’’ and “The Good Wife.’’
    • 40 Metascore
    • 40 Matthew Gilbert
    OK, ''Four Kings" isn't the worst of its type, in that some of the jokes hit their mark.
    • 51 Metascore
    • 40 Matthew Gilbert
    A run-of-the-mill family comedy that wants to be the show that follows it, "Everybody Loves Raymond," but ends up more like a wan wannabe. [21 Sept 1998, p.C9]
    • Boston Globe
    • 53 Metascore
    • 40 Matthew Gilbert
    Killing Jesus is a shallow telling of the Jesus story, with no more distinction than you might find in the generic reenactments of some historical documentary.
    • 44 Metascore
    • 40 Matthew Gilbert
    It's the kind of story that asks you to either take off your thinking cap or be bored and indifferent.
    • 43 Metascore
    • 40 Matthew Gilbert
    The shtick flies fast and furiously, but with only one decent joke for every 10 rote punch lines.
    • 55 Metascore
    • 40 Matthew Gilbert
    Cautious and slow. [25 Sept 2001, p.E8]
    • Boston Globe
    • 61 Metascore
    • 40 Matthew Gilbert
    These two extraordinary talents have done an average job with what is a surprisingly unimaginative premise.
    • 67 Metascore
    • 40 Matthew Gilbert
    It fails to transform those events into anything valuable or special, beyond docudramatic re-creation. Ultimately, it's scope is too big, and it fails.
    • 55 Metascore
    • 40 Matthew Gilbert
    It breaks no new ground and offers viewers only another forgettable--if not unpleasant--half-hour of shtick.
    • 53 Metascore
    • 40 Matthew Gilbert
    The most banal family-sitcom setup possible. [17 Sep 2002]
    • Boston Globe
    • 28 Metascore
    • 40 Matthew Gilbert
    I do have a problem with the way $#*! My Dad Says is so blandly traditional, so predictably brash, and so lazy.
    • 78 Metascore
    • 40 Matthew Gilbert
    Gideon's Crossing is soulful and serious. It's also heavy-handed and ponderous, the equivalent of an hour with a philosophy grad student who just won't lighten up. [10 Oct 2000, p.C1]
    • Boston Globe
    • 57 Metascore
    • 40 Matthew Gilbert
    The Goodwin Games isn’t awful, really, but it might have made a better light-hearted movie than a weekly series. The concept is so limited, it gets very tiresome very fast.
    • 60 Metascore
    • 40 Matthew Gilbert
    "Day Break" doesn't quite work, not only because of its redundancies but because its story line becomes simultaneously convoluted and pointless.
    • 53 Metascore
    • 40 Matthew Gilbert
    Alas, show creator David DiGilio forgot to put distinct personalities on his fast-moving bodies.
    • 60 Metascore
    • 40 Matthew Gilbert
    It comes off as a straining, overly serious wannabe.
    • 58 Metascore
    • 40 Matthew Gilbert
    It has a disappointing lack of suspense. [3 Jan 2005]
    • Boston Globe

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