Boston Globe's Scores

For 736 reviews, this publication has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 6.4 points lower than other critics. (0-100 point scale)
Average TV Show review score: 57
Highest review score:
Critic Score 100
Lowest review score:
Score distribution:
  1. Mixed: 0 out of 335
  2. Negative: 0 out of 335
335 tv reviews
  1. At four hours, you are left with far too much time to ponder the feebleness of the endeavor. If you decide to get on this ride, prepare to be dazzled by little more than the glorious scenery.
  2. HBO's new series Eastbound & Down falls into the grating category of totally obnoxious dude comedies.
  3. The show tries to get by on charm, hoping that we'll enjoy Fillion as a bad boy enough to overlook the half-baked plots and thin characters.
  4. After July 2, you won't need to worry about stumbling across this enervating, vapid, and obscenely over-promoted thriller when you're channel surfing.
  5. By rights, given all of this material, "The Cougar" should be hilarious. But the show takes itself so seriously that, instead, it feels impossibly sad.
  6. The series, premiering tomorrow night, is completely hackneyed, a dull dropout from the Adult Swim school of looney 'toons.
  7. A show so stunningly derivative that it feels a little bit insulting.
  8. It's not the weakest of the new supernatural pilots, but it so quickly falls into generic horror moves and a stifling atmosphere that it doesn't make for a terribly auspicious hour.
  9. While there's nothing cringingly awful about this new WB series -- see Fox's ''Unan1mous" for that -- it nonetheless succumbs to one of the great TV sins: mediocrity.
  10. The more the script pushes its stock questions of faith, the more cerebral the movie becomes. And cerebral isn't a good thing when you're talking about horror.
  11. The animated comedy, which premieres on HBO tomorrow at 11 after Little Britain USA, is unnecessarily slow and slack.
  12. The show remains a poorly conceived piece of work that throws a whole mess of relationship and medical cliches at us and hopes for the best.
    • Metascore: 63
    • Critic Score 30
    Despite its fancy flips and dizzy floor routines, Make It is unconvincing as a portal into this subculture and numbingly hollow as a commentary on teenage life.
    • Metascore: 55
    • Critic Score 30
    The show is like watching fish getting shot in a barrel. It offers up poor souls with harebrained schemes and makes merry sport of eviscerating them.
  13. Mercy is a bunch of played-out hospital cliches placed together in hopes of being the next “Grey’s.’’
  14. A junky sitcom that isn’t old school so much as mold school.
  15. Sure, the show will raise awareness of organ donation; but it is certainly not going to raise the profile of good TV drama. Casting and nuanced writing might have helped, but neither are in evidence here.
  16. Alas, it’s an amateurish take that feels more like a string of failed “Funny or Die’’ sketches than a fully developed series with distinct characters.
  17. This attempt to milk the success of the 2008 movie “300’’ is a major dud, from the C-level production values and shoddy green-screen technology to the horrible makeup that turns star Lucy Lawless into a Raggedy Ann doll.
  18. The Jerry Seinfeld-produced reality show may just slide backward into the ditch and push NBC farther down into the hole....It was an underwhelming, contrived product that didn’t bode well for the hourlong version of the series.
  19. They don't promise to be more than a collection of types, like the generic figures in TV's "Poseidon Adventure'' remake. And if we don't care about them, then it's hard to care about the possible threats that surround them.
  20. Not a single one of the characters were funny enough, or touching enough, to make me want to see more of them. If the Wests were thrown in jail, I'd be tempted to throw away the key.
  21. It's just a flat traditional sitcom built around lazy, repetitive jokes and audience cackles. It's just bad.
  22. There's not a hint of logic in the procedural aspect of the show. The development and the resolution of tonight's case, in which a man on death row is trying to prove he isn't a cop killer, represent the sloppiest, most factory-like TV writing there is. And there's not much realism afoot, either.
  23. Like "The View," The Talk was an hour of plastic blatherers pretending to be a microcosm of American women.
  24. He is so relentlessly bitter in Lennon Naked that, ultimately, his bitterness has no emotional weight. The script, by Robert Jones, is remarkably spotty.
  25. Don't ask me what Retired at 35 has to offer. TV Land's new companion sitcom for "Hot in Cleveland" is a piece of brash nonsense that, with jokes featuring older people talking about "Facialbook" and "texturizing," seems like it was written to target people who died about 30 years ago.
  26. For the most part, The Pee-wee Herman Show on Broadway is stale sugary shtick on a candy-colored set with no new resonance--no undercurrents about childhood, or innocence, or even Pee-wee Herman.
  27. There's nothing dishy, or infuriating, or entertaining about the miniseries. It's enervating and unnecessary.
  28. The show never takes off, and Reiser, best known for "Mad About You," winds up looking like a shoddy replica.
  29. Franklin & Bash is not a guilty pleasure, because there's no pleasure here to regret, just strained, sexist, frat-boy self-love.
  30. The animals can't make a sitcom work unless they're surrounded by good human writing and human originality, both of which are in short supply here.
  31. Loosely based on the 1987-89 series, it's a silly, flat piece of work that is all about posing longingly in the face of impossible love.
  32. [Malibu Country] is a traffic jam of culture-clash cliches, numbing laugh track cackles, and fake stage-set lighting.
  33. It’s an oddly unnecessary piece of work, a vanity production from top to bottom with very little that feels genuinely candid.
  34. The problem is almost everything around [Sarah Chalke], including the title, which is cutesy on a stick.
  35. On just about every other, deeper level--plotting, acting, dialogue--Hannibal is lousy.
    • Metascore: 70
    • Critic Score 30
    A pretentious exercise in cheap thrills, by great talents who've been allowed to run amok. [11 July 1997, p.D1]
  36. "Enlightened" with Laura Dern covered some of the same territory with sensitivity and honesty. Save Me, in the premiere, turns this subtle idea into a romp devoid of charm.
  37. The lousy effects that put the twins in the same room are sloppy, and the story line--ripped from a cheesy daytime soap--is worse.
  38. What demotes it from a C to a D is some of the laziest plot setups ever, as well as the dumbing down of "Friday Night Lights" alums Porter and Cress Williams.
  39. It's one joke ground to dust as the moms abuse their daughters and vice versa, ad infinitum.
  40. Allen tries too hard to be cranky and offensive and misogynistic and yet ultimately--aww--a good guy.
    • Metascore: 61
    • Critic Score 25
    All the masturbation jokes in the world don't help a script that is as inherently stale and as turgidly moralistic as "Dragnet"...This program only makes me want to shut the TV off, not put a foot through the screen. [12 Sept 1990, p.51p]
  41. A painfully simplistic sitcom that has exactly one thing going for it: Sara Gilbert.
  42. A boring prison-sentence of a silly biopic.
  43. ''Freddie" tries to distinguish itself with Puerto Rican dash, and it has been even more ruthlessly built to appeal to TV's most coveted audience, young women, by exploiting Prinze's pinup appeal. Maybe ABC should think about adding a third element to help the show attract viewers: It's called good writing.
  44. Sorvino is as wooden as can be throughout. Perhaps she didn't connect with her poorly written role; perhaps she's just straining to understate.
  45. It's only a few shades more adult than, say, playing with blocks.
  46. In between all the poolside exhibitionism and dance-floor romantic politics, guns appear and faceless thugs are killed. That means our young cast members get to angst about whether they're truly in danger and some villain is going to force them to eat a loaf of bread at gunpoint.
  47. [It] looks like a TV commercial with plots. The people are pretty, their homes are pretty, their problems are pretty, and it's all pretty shallow.
  48. This disappointing new series operates by one rule alone: When all else fails, refer to genitalia.
  49. It's one of HBO's more fascinating series -- but not because it's good, or funny.
  50. "Treasure Hunters" is slickly annoying right off the bat.
  51. A peculiar piece of work that's a whole lot creepier than it means to be.
  52. A painfully lightweight collection of stock comic wedding situations... that Kelley could have written on his PDA at the gym.
  53. Wahlberg is winningly sincere and yet sneaky.... But the lazy, simplistic script plays more like an episode of a second-rate crime series.
  54. I kept waiting for the unexpected beat, the surprising plot riff, the inverted cliche , but they never came.
  55. [It] recycles all the comedy cliches of pregnancy.
  56. Even if you're a shameless lover of "Laguna Beach" and its spinoff, "The Hills," you should probably avoid this country-flavored iteration of the semi-scripted reality soap formula. It's pretty doggone dull.
  57. Cavemen is pretty bad. It's definitely among the stalest pieces of bread in the loaf, which already includes 'Two and a Half Men' and 'According to Jim.' And it's certainly the most tasteless.
  58. It feels more like a TV gathering of stick figures from an instruction manual.
  59. Nothing about it feels original or even especially timely, and it certainly doesn't reveal any great secrets about society.
  60. Do Not Disturb is a sitcom that bombards you with a whole mess of loud, stupid, obvious, politically incorrect material, hoping it will make you forget about the pervasive pointlessness.
  61. Everything--the characters, the action--seems stubbornly flat.
  62. It's sad, really, how unimaginative Howie Do It is. Given all the resources at NBC's disposal, and given the fact that NBC is desperate to regain ratings footing, this is the best the executives could come up with?
  63. Domestic comedy doesn't get more generic, more insipid, or more pointless than "Surviving Suburbia," and no, I haven't forgotten about "Gary Unmarried" or "In the Motherhood."
  64. Private Practice is just plain McLousy, from its stock cast of whiny healers down to the hokey, gimmicky medical cases of the week.
  65. Watching 13 - Fear Is Real, I was, like, shaking, too, from giggling at the awesome flimsiness of this new horror reality show--when I wasn't bored out of my skull, that is.
  66. [The subject of hard economic times] has been mined successfully in the past on shows like "Good Times" and "Roseanne." But there was a humanity to those projects that Work It sorely lacks.
  67. Bowler and Lohan never approach the kind of magnetism that a movie about Burton and Taylor must conjure in order to be convincing.
  68. [It] isn't very good at all, even for a frothy nighttime serial.
  69. Has absolutely nothing going for it.
  70. Each character on ''Love, Inc." is a one-joke affair.
  71. At times during ''Ghost Whisperer," the sentiment is so thick you might want to go away from the light -- the light from the TV set, that is.
  72. It's hard to quibble with such a philanthropic series, even while its motives are, of course, Nielsen-based. But it's easy to quibble with the condescension, fraudulence, and manipulation of ''Three Wishes," as every single scene is ruthlessly choreographed to put a lump in our throats.
  73. A TV commercial for lips, hair, and clothing products.
  74. It has been given a little more direction and clarity of vision (directly onto Anderson's upper torso), although it's still fully awful.
  75. Turns the pope into a pious stick figure.
  76. A do-good reality show that makes a big deal about how morally superior it is.
  77. It is so mediocre it's almost fascinating to behold, ''almost" being the operative word.
  78. You haven't seen ''Teachers" yet. But in a sense you have, on every other fifth-rate workplace sitcom ever made.
  79. Portrayed by actor Dougray Scott, Moses is so lacking in leader-like charisma and confidence that he seems ready to break into tears at every sand dune.
  80. Not a single note in the premiere of "Brothers & Sisters" rings true.
  81. This new CW series cranks out brash jokes that evaporate upon hitting the air, winds them into situations where women submit to their men, and leaves no aftertaste when it's gone. It's on TV, but it's never truly on.
  82. In truth, there's nothing wrong with partisan humor, as long as it's actually funny. But here, even the less-political jokes are hopelessly obvious or old.
  83. "The Winner" isn't, by any stretch of the imagination, and it's sad to see Corddry pour his likable comic style -- a form of ironic cluelessness -- into such a feeble and misguided project.
  84. Watching HBO's surfing drama "John From Cincinnati" is like sitting through a bad play at a tiny experimental theater.... In short, if Gary Busey were a TV series, he would be "John From Cincinnati."
  85. Big Shots is an extremely unflattering showcase for these actors, particularly McDermott, whose overacting as the show’s bad boy puts the mug in smug.
  86. The show is a full-fledged Fox flop.
  87. Shannon and Blair have none of the clueless peas-in-a-pod chemistry of the actresses in the Australian original. Shannon is wound too tightly, and Blair is terribly miscast.
  88. The show, executive produced by self-labeled momma's boy Ryan Seacrest, is totally stupid, but you knew that already.
  89. What we see for the entire hour is a vain woman who can only behave like a snarky, self-absorbed 17-year-old, making a mess of her mother's kitchen and her sister's house and mean-girling every non-rich woman who enters her orbit.
  90. ABC's The Neighbors is this season's awful sitcom, the one that defies all kind of sense.
  91. The acting is half-hearted, the characters are paper thin, and the dialogue and plot development are embarrassing. It’s as sophisticated as “Jonny Quest.”
  92. [An] intolerable piece of attention-getting TV.
  93. It's the new bottom of the barrel.
  94. Every moment of this repugnant product is absolutely precious, if you have a fetish for counterfeit emotions, Tupperware cheeks, ice-pick fingernails, and "real women" who can cry on cue -- without spoiling their makeup.
  95. The show is just awful.
  96. While TV comedy is getting good again, the network has decided it's time to resurrect the groan-inducing cliches of stinky sitcoms to remind us of just how truly rancid the genre can get.
  97. Once again, reality TV invites us to marvel at the idiocy, futility, and self-destructive tendencies of the rich and famous. But this petty, home-movie-level material wouldn't even fly on YouTube.
  98. OK, so is "The Real Wedding Crashers" juvenile, disappointing, disastrous, hollow, devoid, desperate, or disingenuous? Let's just say the show is "bad," plain and simple, and leave it at that.