Boston Globe's Scores

For 1,206 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 5.4 points lower than other critics. (0-100 point scale)
Average TV Show review score: 59
Highest review score: 100 Arrested Development: Season 2
Lowest review score: 0 Sons Of Hollywood: Season 1
Score distribution:
  1. Mixed: 0 out of 600
  2. Negative: 0 out of 600
600 tv reviews
  1. They make an appealing team, and it doesn't hurt that they're chasing bad guys through the breathtaking--and HDTV-ready--beauty of Hawaii. There's nothing groundbreaking going on here, just old-fashioned action-adventure fun. New old-fashioned fun, that is.
  2. It remains what it has been for years--a pretty melodrama, whose characters we’ve come to know well, grounded in a thought-provoking historical moment.
  3. There is much in the next few weeks that is touching, humorous, painful and admirable. But not insightful, or at least not insightful enough to make going back to high school something that seems like must viewing between 8 and 9 on Thursday nights...Still, My So-Called Life is likely to be as good as you're going to get this season as far as new shows are concerned. [24 Aug 1994, p.65]
    • Boston Globe
  4. It's funny, but painfully funny, as it skewers the world of banal sitcoms and youth-market mania. It's mean, but touching, too, as Kudrow's Valerie undergoes the humiliations of being a Nixed Big Thing. [3 June 2005, p.D1]
    • Boston Globe
  5. The action is intense in "Sleeper Cell," and each episode includes at least one stunning moment of violence or betrayal. But character depth isn't sacrificed to keep the pace moving, and there are valuable calms between the storms.
  6. Why watch The Wire if it's such tough-going--so difficult to follow and then, once followed, so pessimistic? Because it offers the kind of earned understanding that leads to progress.
  7. The tone is satirical, and the look mixes noir with candy-colored latex; but the characters are sweet and extremely human. [8 Nov 2001, p.C20]
    • Boston Globe
  8. The ABC show... is one of the pleasures of the new season, although it may strike some viewers as too conceptually loose to love.
  9. Occasionally, logic is forsaken. But still The Escape Artist maintains its suspense despite the flaws, thanks to rich acting and smart direction.
  10. You don't like comedy that pushes the boundaries of good taste, you have no business here. But the material is presented with enough comic skill, cultural resonance, and clever mockery to rise above.
  11. The Wire is a cop drama from top to bottom. It does take a systemic view of the issue, like "Traffic," Steven Soderbergh's drug-trade saga. But it never sacrifices drama and character for lecture. [31 May 2002, p.E14]
    • Boston Globe
  12. All of the characters are misfits, and the pleasure of Party Down is watching the actors riff off one another as they go to extremes.
  13. Orphan Black has the potential to be memorable entertainment, if they [creators Graeme Manson and John Fawcett] can continue to deliver each and every plot development with a human touch.
  14. Collision is a satisfying emotional journey through the twists, turns, and overpasses of a dozen or so lives.
  15. ''24" is still an addictive amusement park ride of a show.
  16. The script is by novelist and essayist Shalom Auslander, who created the show, and it is remarkably tight, thought-provoking, literary, and jeweled with absurdist wit.
  17. As a filmmaker, Burns brings to bear a special vividness of scrutiny. No matter how familiar the material, he makes it seem as though he's discovering it afresh--so the viewer feels that way, too.
  18. A thoroughly enjoyable comedy that brings vigor and charm to a familiar TV trope.
  19. Establishing that she is a competent professional helps ground the comic surrealism in reality and make Crazy Ex-Girlfriend one of the most promising shows of the season.
  20. Based on the pilot, [the] mystery promises to be surprising, psychological, and addictive.
  21. It’s an unusual piece of work that has real promise, not least of all because it is so unusual.
  22. I like Archer because it succeeds where so many of the snarky animated series tend to fail. Reed and his writers and voice actors balance all the pop satire and raunch with a strong sense of the characters.
  23. It continues to be to Fellowes’s credit that he manages to write for such a large number and wide array of characters and yet makes viewers know and care about each one. None is purely hissable nor heroic, intentions are murky, and impulsive choices have major consequences, keeping the enjoyable soap at full lather.
  24. Television's blackest comedy. [13 Nov 1996]
    • Boston Globe
  25. It’s a technically updated and marvelously acted work for the era of “Black Lives Matter,” a solid dramatic reminder of the complexity and depth of racism in America.
  26. Familiarity makes the story no less gripping.
  27. Truly there can be something rich and lovely about hospitals, and there is something rich and lovely about Boston Med.
  28. Fellowes does a good job of keeping all of his players engaged while introducing fresh faces and bringing back old friends.
  29. It's a more visceral impression of a band on fire, and as such it offers plenty of satisfaction.
  30. A surprisingly stylish adaptation of a story that would seem to be played out after so many incarnations on the small and big screens. If Smallville can keep its supernatural plots engaging, and avoid focusing solely on Clark Kent's familiar teen alienation, it could evolve into a top-tier WB series. [16 Oct 2001, p.D16]
    • Boston Globe

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