Boston Globe's Scores

For 1,075 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 6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 59
Highest review score: 100 Rescue Me: Season 2
Lowest review score: 0 Twenty Good Years: Season 1
Score distribution:
  1. Mixed: 0 out of 524
  2. Negative: 0 out of 524
524 tv reviews
  1. To embrace "Knights," you have to have a taste for the kind of comedy that teases because it loves.
  2. It’s thoroughly transporting.
  3. But the real question is: Will Dharma & Greg be able to expand its central, single joke into an entire series? An entertaining premiere, yes, but there may be a finite number of laughs to be had over those wacky hippies and the cold-hearted WASPs. [24 Sept 1997, p.C6]
    • Boston Globe
  4. Tonight's premiere isn't one of the series' most cleverly wrought scripts; it's more of a welcome-back party than a gem.
  5. It’s a bit of a rarity, an intimate, sprawling, and at times touching procedural that makes the networks’ versions of the genre look like simple board games.
    • 65 Metascore
    • 80 Critic Score
    The ABC drama starring Annie Potts is not only a vast improvement on the film, but also restores some of the integrity of Johnson's book. [30 Sept 1996, p.C10]
    • Boston Globe
  6. The show seems to have a light step this season without the heavy-duty silliness of Kim ... And it is refreshing to see many new faces at CTU. [8 Jan 2005]
    • Boston Globe
  7. This kind of material would wear thin after a while if the characters weren't as distinct and endearing as they are. [30 Apr 2005]
    • Boston Globe
  8. As much as this is a story of the pressures facing teenage girls, it's also a striking, honest look at the parent-child relationship, with its ebbs and flows of communication and trust.
  9. The feverish action is as tantalizing as ever, and so is the script.
  10. Halter is also the most heartless of the principals, in a tough-love sort of way.... [But] Most of the time, though, this show makes you wish that the principals had sharper teeth.
  11. Burns and Novick know that what happens on the field makes baseball interesting--and what happens in the hearts and minds of its followers is what makes it great. That mingling of action and ardor (technical expertise, too) is what makes The Tenth Inning such fine viewing.
  12. The show needs some sharpening, but "Murphy Brown" looks like a winner. [14 Nov 1988]
    • Boston Globe
  13. By making seemingly real people do bad things, 'Larry Sanders' becomes an adept satire of corporate and human behavior as well as a delicious satire of a specific industry. [19 Sep 1992]
    • Boston Globe
  14. I want to be [hooked], because the actors are so charismatic. Remember Ehle with Colin Firth in PBS's 1995 "Pride & Prejudice"? But the New Agey ghost-as-conscience thing--done better with so much crazy verve in the hallucinatory "Eli Stone"--is strained by the end of the first episode
  15. This is a million miles from PBS and Mirren, but it works because of Bello's visceral energy.
  16. The romance and the attractively stylized innocence of the era is addictive, but the espionage plot, with its link to political history, is absurd.
    • 79 Metascore
    • 75 Critic Score
    It's a deliciously post-modern and surreal sitcom that succeeds both on a silly and an intellectual level. [2 Oct 2001, p.46]
    • Boston Globe
  17. The show falls somewhere between Woody Allen's film about the '40s, "Radio Days," and TV's version of the '60s, "The Wonder Years," both in time and sensibility. It doesn't have Allen's visual or verbal wit and it doesn't have the polish of "The Wonder Years." But it does have an honesty that "Wonder Years" lost when it ran away from sex and drugs and rock 'n' roll. [20 Sep 1991]
    • Boston Globe
  18. The most interesting feature of the program is how it stays specific to Smith's underclass style while fashioning a story that the whitest of white people can easily relate to. That's achieved, in part, by making Smith's relatives unbelievably broad. You've never met Boston Brahmins as preppy as these people. It's the weakest part of the program, but it allows Smith to have a great time playing Groucho Marx to his family's Margaret Dumont. [10 Sept 1990, p.35]
    • Boston Globe
  19. It does break your heart, to some extent, if you’re willing to let go of your cynicism for an hour.
  20. The cast is appealing, despite Bakula’s questionable accent.
  21. The pilot so closely resembles the original, it renders the endeavor redundant.
  22. Longtime supporting actors Marino and Wilson are dynamite front and center.
  23. What's most becoming about the program is its eccentric sense of community. [8 Apr 1991, p.38]
    • Boston Globe
  24. Akerman is perfect for the role.... Whitford is low-key and wry, and Harden makes a great heavy. She uses her silky voice and her stiff posture to torment Kate, making even stock material fly.
  25. If there's a glaring flaw, it's in the character of Dr. Eleanor O'Hara (Eve Best). As comic relief, she's far too thin. Nurse Jackie has much richer, darker comedy to offer.
  26. Written by Gwyneth Hughes, the script perhaps reaches too far and falls short. The whole is somehow less than the sum of its parts. And yet Five Days rewards with enough gripping moments to make it worth investigating.
  27. On occasion, McKinnon--perhaps in his appreciation of the actor--lingers too long on Young, as if we’re not already completely aware that he is dazed and confused. It unintentionally undermines Young’s performance. But for the most part, in Young’s Daniel we can clearly see what it means to mystified by freedom, to be on the outside and yet shackled on the inside.
  28. Bosch, based on the best-selling Michael Connelly series of books, may not set the TV world on fire in terms of storytelling or innovation. It’s another cop show, after all, but it is a quality cop show.

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