Boston Globe's Scores

For 1,351 reviews, this publication has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% lower than the average critic
On average, this publication grades 5 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 Arli$$: Season 1
Lowest review score: 0 Tuesday Night Book Club: Season 1
Score distribution:
  1. Mixed: 0 out of 691
  2. Negative: 0 out of 691
691 tv reviews
  1. Dormer is the best thing about Picnic at Hanging Rock, which was also an indelible 1975 Australian movie by Peter Weir. But she’s not the only worthwhile aspect of the miniseries, even if the story may be a bit overextended at six hours.
  2. The result is a story boiled down to a husk, a simplistic statement enacted by one-note characters whose internal conflicts--when they exist--are underexplored. ... Jordan, however, is the redeeming factor in the HBO movie.
  3. Adapted by David Nicholls and directed by Edward Berger, it’s a loose grouping of story fragments that sit together beautifully, as they jump back and forth in time. The acting, too, helps to make Patrick Melrose more than a relentlessly bad trip. Cumberbatch is all in on his performance, and it’s riveting--definitely some of his finest work to date.
  4. The casting is solid, with Emily Watson particularly affecting as Marmee. The star, though, is Maya Hawke, who captures the spirited Jo nicely as she grows into a committed writer and uncompromising lover.
  5. Safe stays largely on the surface, as each of the parties chases down the next piece of evidence. Hall is fine, as the script moves him around the chessboard feverishly.
  6. For those fascinated by how a society such as ours can devolve relatively quickly into a misogynist nightmare, and by how fragile our moral balance is, there’s nothing better out there, even the miraculous “Dark Mirror.” And The Handmaid’s Tale isn’t intriguing on a conceptual level only; it’s a deeply personal story about a few women who’ve been abducted. ... TV storytelling at its boldest.
  7. The show looks like a blockbuster space movie, with a soundtrack loaded up with the same wonder-filled strings and horns we hear in those same movies. But all that action is painfully repetitive and tedious. ... Posey, though, grew on me as Dr. Smith. She’s not over-the-top enough to raise the overall energy level, but she provides a welcome spot of evil and humor. While the Robinsons brave every crisis the CGI whizzes throw at them, always certain they will prevail, her fear and loathing are tons of fun.
  8. It turns out that there are now two extraordinary adaptations of “Howards End” in the world, each remarkable and distinct. The Starz production makes excellent use of the extra time that TV affords to add extra layers of detail--to the characterizations, to the relationships, to the dialogue, and to the larger social themes, which remain so relevant. ... Up until the choppy and speeded-up ending, Lonergan practically steals the show with his muscular, wit-filled lines.
  9. Paterno is a small movie that tells a story many of us already know, but it nonetheless makes its big point strategically and effectively.
  10. Despite the quibbles, which included some spotty sound mixing, Jesus Christ Superstar Live in Concert was a pleasure throughout. The show both respected the original score while adding a present-day spin and a sense of controlled chaos that kept it all fresh.
  11. Each of the six episodes available for review was balanced effectively between humor and honest emotion, with Morgan a more mature presence than you might expect.
  12. The context of the show has shifted from a trip down memory lane to a fraught part of our contemporary saga. All this new relevance gives The Americans extra bite--but, to be clear, the show was already quite good on its own.
  13. The end results are mixed. ... There are many efforts to update the story lines, some of them painful and others more interesting and successful. ... When I finished three episodes, I was ready to sit down with three more.
  14. Trust is a strong addition to [the FX] lineup, although it’s unclear whether the Getty mess--all the misery and excess--will remain engaging enough to maintain interest for 10 episodes. Given the skills of Beaufoy and Boyle, I trust that it will.
  15. It’s a comedy, really, and it balances all the Hollywood satire, character comedy, and noir tendencies beautifully. It’s filled with smart choices. Each perfectly cast character has a twist that places him or her outside of conventionality.
  16. Unlike “Friday Night Lights,” Rise doesn’t organically arrive at its sweet revelations after building up to them deliberately. Rise is far more aggressive when it comes to wringing tears and pathos out of us, with a seeming checklist of juicy issues including alcoholism, trans acceptance, abortion, gay self-acceptance,
  17. It’s a testament to The Looming Tower that the story is as gripping as it is, given that we know where it’s all going. Co-created by Dan Futterman and Alex Gibney, it plays a bit like “Homeland” before “Homeland” got played out.
  18. It’s a wan attempt to make points--good points--about sexism, inequality, patriarchy, and health care, stitched together with a story line that is seriously underdeveloped. The show, from Jenna Bans, is remarkably shallow, from the plot details to, more importantly, the central characters.
  19. Other stories intersect in Everything Sucks!, including the requisite parent plot that finds Luke’s mother and Kate’s father exploring the possibility of dating. All together, they form an earnest and sweet, if not particularly fresh, series.
  20. There is probably a good show somewhere in all this liberal muddle about America, and it will be interesting to see if Ball can find it before viewers get tired of the rudderlessness.
  21. The show’s thought experiment about the end of death in the future is particularly intriguing. What isn’t so thrilling about Altered Carbon is the complexity of the story lines set within the carefully imagined cosmos. The more we learn about Kinnaman’s Takeshi Kovacs, the more slippery the show becomes. ... Kinnaman is good enough to rise above the chaos.
  22. There’s a good chance A.P. Bio will become part of that [NBC sitcom lineup] upgrade, if it can dig even deeper into the secondary characters and their strange quirks at the same time as it features Howerton. The more the ensemble clicks, the better.
  23. The modernisms are amusing, and they invite us to take Britannia as a sendup--but then the series doesn’t commit to that approach, as it lapses back into straight-up battle drama. It’s trashy, but, perhaps, not trashy enough.
  24. Counterpart is built on a rather unwieldy premise that will either support seasons of absorbing brain-teasing or tumble over and scatter like a colossal Jenga tower. ... Throughout all the setup of this riven world, imagined by show creator Justin Marks, Simmons shines. His performance as both Howards is endlessly entertaining, and it kept me engaged in the story even when I wasn’t certain exactly what was happening.
  25. [Corporate] doesn’t do anything new for the genre, really, as it satirizes blowhards in meetings and the bells and whistles of PowerPoint. But it’s funny in an uncompromisingly nihilistic way, it never resolves into artificial sweetness, and the ensemble seems to be having a great time.
  26. It’s all pretty rote and familiar, and what’s worse is Letterman’s stage and interviewing manner, which is clearly rusty. He fawns over his guest more than he should, he makes awkward jokes about this new-fangled thing called Netflix, and he drives the conversation into a mutual children-appreciation session so that he can enthuse about his son and Obama can enthuse about his daughters.
  27. I’m not sure The Assassination of Gianni Versace manages to add contemporary political and cultural resonance to its serial killer story as effectively [as The People v. O.J. Simpson]. ... But The Assassination of Gianni Versace is nonetheless extremely insightful, as well as consistently entertaining.
  28. The series is wildly uneven, with, among those I watched, some strong and affecting hours as well as some overly long, poorly designed, and thematically scrambled hours.
  29. [Lena Waithe] gives us a large ensemble of Chicagoans, each well-drawn, and then slowly links them together--on occasion, a little awkwardly--across the first four episodes made available to critics. What at the start might seem like a somewhat random selection of neighborhood folks becomes increasingly intentional. The focus sharpens with each hour.
  30. Judging from the season’s scattershot execution, Brooker fares better charting new directions than he does falling into old habits.

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