Boston Globe's Scores

For 1,032 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 5.7 points lower than other critics. (0-100 point scale)
Average TV Show review score: 59
Highest review score: 100 Twin Peaks: Season 1
Lowest review score: 0 The Real Wedding Crashers: Season 1
Score distribution:
  1. Mixed: 0 out of 498
  2. Negative: 0 out of 498
498 tv reviews
  1. 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.
  2. Everything works and the actors range from fine to good--although the fast-talking chatter between De Caestecker and Henstridge gets old quickly--but it doesn’t exactly crackle with excitement. It’s fun, but a little flat in spots.
  3. 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.
  4. It will engage--though not obsess--those of us who enjoy parsing out the morals and manners of another time and place.
  5. Urban and Ealy quickly establish a familiar rhythm that will hopefully deepen over time, grounding the fantastical elements of the future in the universals of interpersonal interaction.
  6. Both Hirsch and Grainger do a creditable job of getting into the skin of their complicated characters.... The supporting cast is filled with familiar faces doing competent work with a short amount of screen time and a sometimes programmatic script.
  7. The first few episodes available for review feature several moments--callbacks, sight gags, and just plain funny jokes--that will likely feel like rewards to longtime viewers. But Community has also always been plagued by low ratings, and that is unlikely to change now given that some of those rewards probably won’t resonate with newcomers giving the show a try at the urging of those already on board.
  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. 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.
  10. The degree to which viewers will enjoy the new Fox series Rake, based on an Australian series of the same name, will depend on how high their threshold is for watching a charismatic, talented person repeatedly sabotage himself while trying the patience of those around him. Going a long way toward making that trope palatable, and quite charming, is Greg Kinnear as lawyer Keegan Deane.
  11. 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.
  12. The Red Road, created by Aaron Guzikowski and produced by Sarah Condon, will likely be a little too downbeat and leisurely for some viewers. But based on the first few episodes, it may be a path worth traveling down.
  13. It’s sometimes gripping, the acting is good, and for many it will seem fresh.
  14. While the first two episodes of Surviving Jack available for review didn’t offer an avalanche of laugh-out-loud moments, there is a free-spirited realness to it that makes the show worth sticking with to see Meloni whip it into shape.
  15. Although flawed in its heavyhanded and unrelenting use of prejudice against alien beings as a metaphor for prejudice against blacks, Alien Nation packs a punch and could be the cult action show of the year - if it survives "Monday Night Football." [18 Sept 1989]
    • Boston Globe
  16. Faking It is an odd, interesting, lightly subversive, and potentially offensive concoction from MTV. It’s a twisted comedy that has charm, but also a premise that could be insulting if not handled intelligently.
  17. When the material is overly familiar--Emma running into her high school boyfriend, the predictably quirky characters who populate a small town--their timing lifts it up a few notches.
  18. There are promising signs of life in the first two hours of the new series, which take place between 11 a.m. and 1 p.m. in London.
  19. Based on a preview of four episodes, the second season of Maron will be as laid-back and lighthearted as the first.
  20. 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.
    • 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
  21. Yet tonight's pilot retains the supporting cast and all else that made Amy Heckerling's film a delight, especially its unexpectedly tangy one-liners and eye-candy production values. This sitcom looks as if it were shot through Kool-Aid, and is, in sips, just as refreshing. [20 Sept 1996, p.D10]
    • Boston Globe
  22. While Halt and Catch Fire captures the professional and financial excitement and mystery of those days, before we knew computers would change the world, it also takes on the complex personalities involved.
  23. The particulars of USA's Traffic are different enough to make it feel like a new viewing experience, as well as a satisfying one. [26 Jan 2004]
    • Boston Globe
    • 60 Metascore
    • 70 Critic Score
    This is a far campier and cartoonier RoboCop than the original. Even when the wit is blunt, the writing is snappy; and the acting is just broad enough to poke a little fun at itself. [16 Mar 1994]
    • Boston Globe
  24. As with most nighttime soap operas, the young-and-restless plot turns come fast and furious and without many nuances, from the sick infant to the two-timing husband. But the characters are so likable, the acting is so effortless, the family feel is so natural, and the look of the show is so pleasingly stylized, you probably won't care too much. [28 Jun 2000]
    • Boston Globe
  25. 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.
  26. Like "Knots Landing" and "Falcon Crest," it relies on the familiar romantic tangles and corporate scheming of a TV family business. But unlike anything TV has seen, it infuses an Aaron Spelling-identified genre with a large cast of black characters, a hip-hop soundtrack, lots of street vernacular, and a boldly rhythmic editing style. [14 Apr 2003]
    • Boston Globe
  27. 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
  28. The plotting of The Bridge can be dense. That doesn’t undermine my enjoyment of the show, but there are moments in between revelations when I sometimes feel at sea.

Top Trailers