For 736 reviews, this critic has graded:
  • 43% higher than the average critic
  • 3% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 8.6 points lower than other critics. (0-100 point scale)

Matthew Gilbert's Scores

  • TV
Average review score: 57
Highest review score: 100 Lost: Season 1
Lowest review score: 0 Sons Of Hollywood: Season 1
Score distribution:
736 tv reviews
    • 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]
    • 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]
    • 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]
    • 77 Metascore
    • 90 Matthew Gilbert
    Sweet and intelligent...A genre-bender if ever there was one, Roswell takes the "Romeo and Juliet" love story, dresses it in "Rebel Without a Cause" Americana, and then gives the whole thing an "X-Files" twist. The show is a long, long way from "My Favorite Martian" and "Mork & Mindy." [6 Oct 1999, p.E1]
    • 87 Metascore
    • 90 Matthew Gilbert
    Along with its refreshing cast, led by Keri Russell, the WB's Felicity is blessed with a sweet realism that captures the emotional roller coaster that is freshman year in college. It also offers an appealingly non-gritty look at New York City, as seen through the eyes of optimism and innocence...The show transcends formula by staying steadily focused on its characters' shifting emotional realities, and by avoiding the issue-of-the-week plot twists of a series like "Beverly Hills 90210." [29 Sept 1998, p.C1]
    • 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]
    • 88 Metascore
    • 90 Matthew Gilbert
    In its own affectionate way, Freaks and Geeks puts a pimple into the TV-ized approach to adolescence. This delightfully observed 1980s-set dramedy is high school as many of us remember it, with Twinkie-pounding bullies and Army-jacket wearing druggies and pale nerds with speech impediments and "Star Trek" fixations. It's high school unplugged, a sort of "Dazed and Confused" for the small screen, and it is one of the fall season's most likable new shows. That NBC has thrown "Freaks and Geeks" into the wilds of Saturday night - it premieres tonight at 8 on Ch. 7 - is only further evidence of network nitwitness. [25 Sept 1999, p.C1]
    • 76 Metascore
    • 90 Matthew Gilbert
    Can Alias work on a weekly basis? While the Alias pilot plunges forward effortlessly, it also leads to some fairly complicated twists involving Sydney's father (Victor Garber) and the nature of her agency. These twists could make future episodes overly layered, or too dependent on backstory. Also, any CIA suspense series, with or without a flashy pilot, faces the challenge of coming up with 20 or so fresh espionage plots each season - no easy task.
    • 88 Metascore
    • 90 Matthew Gilbert
    This is cringe comedy at its giddiest best. [2 Jan 2004]
    • 63 Metascore
    • 90 Matthew Gilbert
    A wonderful, imaginative mess brimming with possibility. About a dysfunctional family of space cowboys, the sci-fi series arrives not fully formed, like an elaborate photo that's still clarifying in developing fluid. While many shows burst onto the scene with slick pilots and quickly deteriorate into mediocrity, I'm thinking Firefly is on the opposite creative journey.
    • 81 Metascore
    • 90 Matthew Gilbert
    It's an extraordinarily appealing series, one that's so much more than its easy label as a teen private-eye series. [22 Sept 2004, p.D12]
    • 90 Metascore
    • 90 Matthew Gilbert
    Rescue Me isn't for everyone, particularly those who find Leary's fuming a little too convincing. But it's certainly a TV gem, rough but gleaming. [30 May 2006, p.E1]
    • 77 Metascore
    • 90 Matthew Gilbert
    The NBC sitcom is so unpretentious and original, it will probably win you over on its own sweet merits.
    • 81 Metascore
    • 90 Matthew Gilbert
    'Extras" is far less terminally existential than ''The Office," less depressing to watch.
    • 88 Metascore
    • 90 Matthew Gilbert
    The new layout of the action - Coach Eric Taylor lives in Austin, coaching college football, while Tami Taylor is at home in Dillon on maternity leave - doesn't make the story any less cohesive or satisfying. [5 Oct 2007, p.D2]
    • 77 Metascore
    • 90 Matthew Gilbert
    Fiendishly excellent.
    • 85 Metascore
    • 90 Matthew Gilbert
    From the brilliant performance by Michael C. Hall to the dryly witty scripting, Dexter secures a position near the top of another year's best list.
    • 75 Metascore
    • 90 Matthew Gilbert
    Dexter is a masterfully creepy-funny serial-killer series, and it continues to both frighten and amuse as it enters its fifth season.
    • 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.
    • 77 Metascore
    • 90 Matthew Gilbert
    A really extraordinary new drama.
    • 88 Metascore
    • 90 Matthew Gilbert
    Mad Men returns for season 2 in excellent form: There's a rich and active subtext in this series, you just have to discover it.
    • 87 Metascore
    • 90 Matthew Gilbert
    Mad Men remains TV at its most artful. Like Don Draper, it's beautiful, stealthy, troubling, and, above all, addictive.
    • 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.
    • 82 Metascore
    • 90 Matthew Gilbert
    This knockout adaptation of the Lorraine Hansberry play is a model of both the pure power of stage acting and TV’s potential to bring us up close to that acting without deadening it.
    • 81 Metascore
    • 90 Matthew Gilbert
    HBO's Generation Kill is remarkable.
    • 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.
    • 78 Metascore
    • 90 Matthew Gilbert
    Beyond the formulaic outline, White Collar, is actually one of the best new shows of the season.
    • 87 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.
    • 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.
    • 75 Metascore
    • 90 Matthew Gilbert
    There may be a smaller number of top-notch newbies this season, but Raising Hope, a celebration of parenthood and childhood, of small joys and big struggles, is certainly one of them.