Boston Globe's Scores

For 1,079 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 5.9 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 526
  2. Negative: 0 out of 526
526 tv reviews
  1. It’s binge-worthy, make no mistake. But still, a few well-placed casual moments among family members would help, so that the story can breathe a bit, and so can we.
  2. A sleekly engaging pilot that, with the right character development, could turn into a sleekly engaging series.
  3. By the way, I don't mean the word "trash" as an insult. I enjoy well-made, quick-witted trash, and if you do, too, then you will find "Rome" as irresistible as ever.
  4. The Middleman is so light as to feel almost weightless, and compared to much TV, that comes as a relief. If comic books are meant to be escape, there are far worse worlds to camp in for the summer.
  5. Lock ’n Load treats Wayne and many fellow customers as curiosities, and occasionally smacks of condescension. (The “Amazing Grace’’ sequence, in particular, crosses a line.) But the series also takes pains to avoid making judgments, and offers a parade of gun owners so vast that we end up with a broad view.
  6. This farcical new sitcom won’t blow you away so much as keep you lightly amused.
  7. Ultimately, though, your feelings about Passmore will determine whether or not you cotton to The Glades. The show rides on his personality, which I found likable enough.
  8. It’s a brave, and at times uneven, experiment. It’s also a reminder of a time when television was a much simpler and campier place.
  9. It’s a likable, natural extension of Maron’s brand.
    • 48 Metascore
    • 70 Critic Score
    Party Girl exudes a certain clunky charm - much more so than the 1995 film that inspired it. It's not a perfect show, but it works for its occasional laughs, which is more than can be said about most new comedies so far this season. [9 Sept 1996, p.C10]
    • Boston Globe
  10. Arrow isn't quite a bullseye on its first shot, but it hits the target.
  11. A promising newcomer that recalls the ethnic comedy and spirit of the movie "Moonstruck." [29 Sept 2000]
    • Boston Globe
  12. The plot strands don’t always come together smoothly, some of da Vinci’s mystical, drug-addled visions are pretentious, and the CGI re-creating 15th-century Florence is spotty. And the general tone of the show will not satisfy anyone looking for a serious take on a historical figure or era. But Da Vinci’s Demons is an entertaining series with one huge factor working in its favor: Unlike so much of what we see on TV lineups, it aims to be different.
  13. Together, they [Dakota Johnson & Nat Faxon] bring a whole mess of cute.
  14. The show is what it is--no surprises, no disappointments.
  15. It's a light half-hour of adults acting like teens, and teens acting like teens, that won't trick you into thinking or rethinking much of anything important.
  16. It is a treat, if not a revelation, for fans. This is very well plowed ground, after all. As for the as yet uninitiated, what they don’t find baffling they’ll likely find excessive.
  17. "Sons & Daughters" is a sitcom whose method -- a script embellished by actors at play -- celebrates the unexpected comedy that can emerge among talented people.
  18. It never quite dazzles, even as it impresses, and it misses some of Austen's ironic turns. But this is certainly a worthy adaptation, summoning all that is enduring about Austen.
  19. It will engage--though not obsess--those of us who enjoy parsing out the morals and manners of another time and place.
    • 75 Metascore
    • 70 Critic Score
    Stiller and company's satire, though too [TV-]oriented, is stylistically spirited and fresh. It's feisty without being nasty, and the show has an air of improvisation that plays into Stiller's easy, look-mom-I've-got-my-own-show persona. [8 Nov 1992]
    • Boston Globe
  20. America Ferrera is instantly and consistently likable as Betty.
  21. It’s a sly, low-key comedy, one that makes affectionate fun of Americans and Swedes with equal vigor.
  22. It’s sweet but not syrupy. The pilot is so beautifully written and acted that it’s difficult to offer any kind of resistance, flaws and all.
  23. They’ve done a smart job of building a cryptic, threatening world around the disturbing relationship at its center.... Highmore is just right as Norman.... I’m less convinced by Farmiga, who doesn’t seem to have a strong fix on Norma’s motivations.
  24. This promising series is really about a failed optimist, driven by the recession and his own midlife depression to sell his body to rich ladies.
  25. The mood is bright and whimsical--easy to take and just as easy to forget.
  26. If you're an avid fan of any of them, there's probably something here for you, especially if you like to monitor subtext.
  27. While Allegiance covers some of the same ground as both FX’s excellent period drama “The Americans” and Showtime’s resurgent “Homeland,” Nolfi and crew do a good job, particularly within the constraints of a broadcast network, differentiating their show’s mission.
  28. Louis-Dreyfus fits easily and naturally into the leading role of a vehicle built for one. She makes it a pleasure to watch Ellie - and to listen to her, too, when she sings in each episode. [26 Feb 2002]
    • Boston Globe

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