Boston Globe's Scores

For 1,303 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: 60
Highest review score: 100 The Simpsons: Season 2
Lowest review score: 0 Sons Of Hollywood: Season 1
Score distribution:
  1. Mixed: 0 out of 659
  2. Negative: 0 out of 659
659 tv reviews
  1. Sookie remains a compelling plucky heroine, undaunted by the violent strangeness of Bill's nighttime world but still holding fast to her moral center.
  2. All these characters, including Bernie, come into focus only after The Wizard of Lies sets up the Madoff case, giving us an obligatory survey on the crime and how it played out. That material, which fills the first third of the film, is unnecessary. Once we turn to the psychological fallout, and Levinson gives us a more intimate point of view, The Wizard of Lies is captivating.
  3. It’s made with just the right amounts of mordant humor, light macabre atmosphere, pun-filled dialogue, and amusing performances to charm and engage.
  4. The uniformly solid acting pulls Mob City back from its occasional flirtation with the “Dead Men Don’t Wear Plaid” precipice.
  5. These lives are familiar to us the way that folk tales are, which is to say that no matter how well we already know them they remain vivid and exciting and moving when told well, as they are here.
  6. What a treat it is to find a medical show that doesn't turn its talented MDs into bedside saints in order to calm viewers' fears about mechanical HMO factories.
  7. The emotional strains of keeping her secret from Ben (Iddo Goldberg) grow across the eight episodes and lend the season an unexpected poignancy.
  8. The nonfictional veneer feels authentic, and so does Lilley's talent.
  9. These shortcomings [acting by Alexa Davalos, Rupert Evans, and story continuity] don’t ruin The Man in the High Castle, even if they prevent the drama from rising to a more rarified status. It’s a compelling addition to this year’s already long list of worthwhile TV shows.
  10. The first five new episodes sent for preview are excellent--as brilliantly painful as the old ones.
  11. It’s not easy to make such inspired nonsense fly so effortlessly, and I give credit to the Carells for creating a buoyant atmosphere where the pace of clowning, word play, and visual punch lines never quits. Jones, so endearing on “Parks and Recreation,” jumps into the gonzo material without a hitch, showing more comic versatility than ever. And she is surrounded by a strong cast of regulars.
  12. The show works, in its own hokey, feel-good, alt-soundtrack way.
  13. It's a nicely assembled, topical film that gives us both a sweeping view of gay rights across almost 30 years, as well as an intimate look at an extraordinary person swept up in those times.
  14. With this bracing and comic new set of 12 episodes, Nurse Jackie has evolved into a rigorous, fascinating portrait of denial, of how it works when someone deceives herself and everyone around her
  15. Washington provides a strong sense of the woman and her complex reactions. Pierce, too, is just right here, with his bottled-up anger. Around them are many small but fine portraits--Alison Wright (Martha on “The Americans”) as Thomas’s supportive wife, Bill Irwin as a nasty Danforth, and Treat Williams as Kennedy, hobbled by his own past. Like Confirmation, they’re sharply etched.
  16. It’s not as sharp and lovable as “Broad City”; Abbi and Ilana, take a bow for an inspired second season of your New York picaresque. But it’s likable, over-the-top, culturally aware, and totally far-out, man. It’s the definition of a madcap adventure.
  17. Despite the blood and the labor, Call the Midwife is filled with heart.
  18. It is reverent enough, and profoundly heroic; and yet it is a living, breathing piece of work that brings American history down to earth.
  19. Like "Lost," it has the potential to grow into a cross-genre drama that reaches beyond cultiness to all kinds of TV viewers.
  20. If you're looking for sexual tension amid the laugh track, or social and political point-making between the punchlines, then "Will & Grace" may not work for you. It's a sitcom that has the potential to prove to prime time that attractions between adults are not always rooted in lust. [21 Sep 1998]
    • Boston Globe
  21. Turns out there may be more corners of the Kings’ Chicago to explore, with the help of their twisty scripts and expert pacing, which keep each episode moving like a long, sustained crescendo.
  22. Too often, TV's sci-fi creators fail to give us characters to identify with, focusing instead on special effects and plot manipulations. But the father-son-bond material in Falling Skies brings humanity to the story and grounds it in emotion rather than spectacle.
  23. Project Greenlight distinguishes itself with its surprisingly warts-and-all approach. As it progresses, we get to see the sort of naked-ego shots and bottom-line talk you'd expect Miramax and its mob to have kept under wraps. [30 Nov 2001, p.D1]
    • Boston Globe
  24. Thankfully, this season Dexter continues to play with our moral bearings, which is the show’s best quality.
  25. [Paulo Sorrentino] invents a coolly seductive physical world to match the oddness of his story. Even as The Young Pope slowly moves among its different tones--serious religious drama, soap opera, satire, dystopian nightmare--it remains consistent in one important quality: stark originality.
  26. Mazzello and Dale both add to the humanity of The Pacific with their committed performances, even when the disorienting narrative seems to be working against them.
  27. As Seth Avett notes, “there should not be an element of exclusivity with folk music.” Another Day shows that it is here for us all, the folks playing and the folks watching.
  28. While the premise sounds confusing, and sometimes is when it comes to the details of the dueling crimes-of-the-week, the producers and writers do a good job of keeping the worlds distinct and vivid, including some neat visual flourishes and subtle color coding.
    • Boston Globe
  29. The pilot is a slick, constantly entertaining hour of programming, directed by Julie Anne Robinson with hell-for-premium-leather pacing and a surplus of stylized, split-screen transitions.
  30. If you're prudish or just polite, in other words, you'll be turned off by all the happy offensiveness. If you're not turned off, though, you may be entertained, as I am. The show is the quintessential slacker comedy. [29 Jun 2006]
    • Boston Globe

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