Boston Globe's Scores

For 1,101 reviews, this publication has graded:
  • 45% higher than the average critic
  • 3% same as the average critic
  • 52% lower than the average critic
On average, this publication grades 5.9 points lower than other critics. (0-100 point scale)
Average TV Show review score: 59
Highest review score: 100 Lost: Season 1
Lowest review score: 0 Sons Of Hollywood: Season 1
Score distribution:
  1. Mixed: 0 out of 535
  2. Negative: 0 out of 535
535 tv reviews
  1. The pilot so closely resembles the original, it renders the endeavor redundant.
  2. Longtime supporting actors Marino and Wilson are dynamite front and center.
  3. What's most becoming about the program is its eccentric sense of community. [8 Apr 1991, p.38]
    • Boston Globe
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. What’s less clear is how interesting this premise will actually be, as Elliot asks lots of reasonable questions and Mr. Robot offers few, if any, satisfying answers, which could get tedious. Malek is an actor worth watching, though, and he is well-suited to his character’s quirks.
  9. 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.
  10. For fans of expertly hammy acting and heated-up supernatural doings, it’s a lot of fun. But if Logan wants to elevate Penny Dreadful from an entertaining and overdone lark to something richer and more thematic, he will need to keep changing things up.... With a bit of clever revisionism and an infusion of our current anxieties into these dated tropes, the show could become something a bit more interesting and dread-filled.
  11. Winfrey had said that she wanted O'Donnell to be herself, and her new hire lived up to that expectation with perfectly familiar results.
  12. The Office is less breezy and more warped than almost any sitcom on the American networks. For viewers accustomed to shiny, happy escapism, NBC's The Office speaks a new comic language of glum realism. Like the original, which was co-created by Stephen Merchant and the show's star, Ricky Gervais, it is a queasy portrait of corporate depression, characters who rarely smile, and bleak irony. It is funny, but slowly and painfully so.
  13. What distinguishes the good ones are colorful performances, scandalous twists, and the age-old reminder that money and power can't buy love--all of which Political Animals has.
  14. It's supposed to be a story of New York and its many demons, but it works best as a tale of loud, proud, surprisingly brittle men.
  15. Haynes takes a few melodramatic moments too many feet over the top--the injuring of Veda's throat, for example, which rises into an almost laughable delirium. But those excesses are forgivable in this otherwise masterful, faithful, and deluxe adaptation.
  16. If you approach The Girl as a sliver, and don't expect a full serving, you are more apt to appreciate it.
  17. So I "like" the new Melrose Place, in that I think it has the potential to be as addictive, and phony, as a can of Pringles potato crisps.
  18. ''Rollergirls" is a colorful piece of reality TV.
  19. Boston’s Finest is refreshingly free of reality TV’s more insipid and manipulative dramatic tricks.... [But] It can be a little dull over the long haul, perhaps because the action we see isn’t particularly interesting and the family lives of the cops are relatively incident-free.
  20. No, it's not "quality cable TV" or Top 10 list material, and it's marred by lapses into character cutesiness. But still, I liked it. It's likable.
  21. An intriguing though uneven mixture of "Miami Vice," "Less than Zero" and, most of all, an extended 501 Jeans ad. [21 May 1992]
    • Boston Globe
  22. Wisely, show creator Sean Jablonski does not cast blame on either of the Trumans for their marital mess. That makes the characters more interesting and sympathetic, rather than merely a victim and an offender.
  23. We know the end point for these two; they’re made for each other. But the writing makes the bumpy journey nonetheless entertaining.
  24. The show doesn't pretend to be anything more than what it is--a violent, sexy, somewhat cheesy, but generally entertaining genre drama--and that makes it easier to like.
  25. With only three one-hour episodes, screenwriter Heidi Thomas needed more time to do full justice to the large cast of characters and the many historical and melodramatic story lines she set up.
  26. The show has a nice sense of innocence, thanks to Wood's gentle performance and the theme of personal transformation; but it is also filled with uneven sexual and scatological jokes, delivered with a dog-like lack of modesty, so viewer be warned. For some, that level of humor is a deal breaker.
  27. If this “Battleship” meets “Contagion,” tension plus ick factor, hazmat-suits-for-all! kind of tale is your bag of summer escapism, then by all means climb aboard The Last Ship. It may be all formula and archetypes, but that’s Bay’s bread and butter, and the first two hours pack enough oomph to make you want to see what happens when the Ship finally pulls into port.
  28. This season is very good, but it’s only four episodes, and they’ve been tragically whittled down by BBC America to make room for commercials. The result is choppy, with a few critical connections missing in the investigation of Luther and in the progress of Luther’s relationship with Mary.
  29. Grantchester makes for very easy viewing, in the manner of so many of the “Masterpiece” mysteries. The murder plots are extremely light and undemanding, without being insulting.
  30. This is still not conventional TV, but season three gets closer, and that’s not an entirely bad thing. The cringe ratio is down--slightly--and characters begin to emerge in unexpected ways.

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