Boston Globe's Scores

For 1,141 reviews, this publication has graded:
  • 46% higher than the average critic
  • 3% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 5.5 points lower than other critics. (0-100 point scale)
Average TV Show review score: 59
Highest review score: 100 The Office (UK): Season 2
Lowest review score: 0 Unan1mous: Season 1
Score distribution:
  1. Mixed: 0 out of 556
  2. Negative: 0 out of 556
556 tv reviews
  1. Those [dialogue] imperfections never jolted me out of the spell Copper casts.
  2. As far as revisiting a tearjerker goes, Steel Magnolias reliably hits the funny bone and will assuredly send you to the tissue box
  3. The beautifully filmed half-hour comedy, lets Ullman clown around with her face and her voices and her wigs without confining her to too much story line.
  4. When you watch the show, which returns for season two tonight at 10, you'll find a legal thriller that's trashier and more fun than you might have expected.
  5. You'll love "The Sarah Silverman Program," but only if, like me, you have a healthy appetite for sick comedy.
  6. Compared to the grittier British version, the American Queer as Folk has a sweet, romanticized aura. At times, it even recalls the TV adaptation of "Tales of the City." The script has plenty of conflict, and the sexuality is hard-core, but the show also exudes an ensemble coziness and jokiness that finds the gang gathering regularly for late-night snacks at Debbie's diner. [1 Dec 2000, p.F1]
    • Boston Globe
  7. The execution of the high concept is rich with many excellent details, gags, and characters.
  8. Like the epic Jenga tower that Phil is constructing, the show is really quite impressive, but it could all fall down just a little too easily.
  9. The playful chemistry Dreymon and Cox have developed so well remains, adding poignancy to their star-crossed circumstances as the story unfolds.... There is plenty of spectacle in The Last Kingdom, but none quite as spellbinding as Alfred’s quiet intelligence.
  10. No gold mine of symbolism is worth a damn when the show itself doesn’t have good old storytelling mojo behind it. And, based on the premiere, V has enough narrative drive and character definition to pull viewers into the creepy suspense of its dystopian world.
  11. Dexter enters season 3 on Sunday at 9 p.m. with an increasing--and pleasing--urge to make us like the curious man-child at its center.
  12. It's witty, irreverent, and joyously juvenile.
  13. There's no false modesty here, just a level-headed look back as Belafonte recalls decades of music, family, and activism, but mostly activism.
  14. There is no mistaking that this is a bromedy. But this is a smart bromedy. Ladies, don’t be afraid to watch. Out of the gate, Leary creates characters that are identifiable and likable.
  15. Cosmos: A Spacetime Odyssey is certainly trippy and visually dazzling, but it’s also a big-thought-provoking series crammed with scientific and historical fact. Hosted by astrophysicist Neil deGrasse Tyson, it is a transporting mass of CGI special effects and cartoon sequences, but it has the heft and scope of cable’s most esteemed science series, “Planet Earth” and “Life.”
  16. The show unfolds like a rich, gritty, and addictive novel, with some surprising detours and lots of transporting, grainy imagery.
  17. It’s an inviting, beautifully acted, and smartly written period drama set in the 1950s
  18. The horror-disaster-supernatural mashup thriller premiering Sunday at 10 p.m. is creepily captivating but most assuredly not for the squeamish, or for nervous fliers.
  19. The launch felt like a purposeful, and successful, reassurance to longtime fans that no one is interested in messing with a successful formula.
  20. As with most HBO series, "Curb Your Enthusiasm" isn't for everyone. Prerequisites include not only a desire for more of the best of "Seinfeld" but a willingness to go along with David's Brooklyn-bred grumpiness. [13 Oct 2000]
    • Boston Globe
  21. It’s a remarkable performance in its straightforward simplicity; she’s like a feral animal ferociously protecting her secrets.
  22. Breaking Bad works as an unabashedly bold story about a man in extremis, told with the iconographic and ironic sensibility of Quentin Tarantino.
  23. "The Boondocks" takes on racism the way ''All in the Family" did, by sending up ignorance and extremism rather than moralizing about them.
  24. It works largely because his victims are the ones doing the work, offering body language clues, lapping up subliminal messages, and proving their capacity for distraction.
  25. The impulse to protect his family comes much less naturally to David Duchovny's Hank Moody, the hero of Californication, which returns in top form for its second season.
  26. It expands beautifully from the stereotypes, ultimately giving us portraits of very specific men and women and their very human trepidations regarding aging, attachment, self-esteem, and romance.
  27. [A] charming, sweetly aching new HBO comedy.... [Stephen Merchant] makes even the most absurd and cringeworthy situations--his desperate attempts to enter an exclusive Hollywood hot spot is like horror comedy--feel authentic and conversational.
  28. The show no longer has that compelling air of discovery about it, since we know many of the characters well. But still, all of the small-town tensions and relationship undercurrents remain as direct and immediate and engaging as ever.
  29. These episodes of Banana are lovely self-standing short stories that build to revelatory moments, but then they also add scope and layers of depth to “Cucumber.”
  30. Everything else about A Poet in New York, which is timed to air alongside the centennial of Thomas’s birth, is small and underwhelming. That sounds like a damning complaint, but the limits of the script, by Andrew Davies, actually benefit Hollander’s performance to some extent.

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