Boston Globe's Scores

For 1,043 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 6.3 points lower than other critics. (0-100 point scale)
Average TV Show review score: 59
Highest review score: 100 The Larry Sanders Show: Season 4
Lowest review score: 0 Sons Of Hollywood: Season 1
Score distribution:
  1. Mixed: 0 out of 502
  2. Negative: 0 out of 502
502 tv reviews
  1. It's good, but not quite inventive or mysterious enough to demand we swallow yet another serving of serial.
  2. "Shark" is a very conventional courtroom TV drama about a do-good lawyer, and its only distinction is the ferocious acting of Woods.
  3. A slight but appealing mix of old-school Saturday morning cartoons from the early 1970s along with happy hip-hop tunes.
  4. You won't be bored, as you strain to keep track of everything, and Isaacs, with his piercing eyes and reserve, is a great lead.
  5. The show... is juvenile, vulgar, and crude, and yet, I still think it contains more sparks of originality than TV's top-rated comedy, "Two and a Half Men."
  6. This is less a documentary project than a comprehensive self-help workshop.... As drama, however, it's a little bit relentless.
  7. Invitingly bizarre... [but] despite all the promise of its premise about the changeability of self, "Meadowlands" never quite rises to excellence.
  8. Entertaining, stylish, and, most of all, slight.
  9. Television dramas rarely get therapy right, and State of Mind only adds to that reputation.
  10. For the most part, the show is content to be another study in the effects of fashion on self-esteem.
  11. The couples are ordinary, and so are their issues. That’s part of the goal of the show--to dissect the mundanity of love and anger. But making a developing story out of these tangles and skirmishes is extremely difficult, and Tell Me You Love Me doesn’t quite pull it off.
  12. With its pleasing San Francisco locales and McKidd's sympathetic performance, "Journeyman" is entertaining enough.
  13. It's a plot-driven, multi-generational melodrama, which feels particularly shallow at a time when shows such as "Friday Night Lights," "Mad Men," "Dexter," and "Nip/Tuck" are pushing their narrative reach.
  14. The new show from "Sex and the City" producer Darren Star, is a strained attempt to build another hit about four peacocky New York women who sip martinis and use the word "penis" as often as possible.
  15. You can feel creator Vince Gilligan (of "The X-Files") straining to build an emblematic American fable and forgetting to fill in his story with particularities and believable motivations.
  16. Is it strange to make good will and charity into a win-lose proposition? Is it peculiar to judge the givers on their manner of giving, to quantify their largesse? To me, yes, it is, and the show makes for awkward viewing as a result.
  17. If only the endeavor felt more worthy, and less prefabricated at some offshore factory where workers in mouse ears plug in the parts: the underconfident girl with a surprisingly pretty voice, the semi-bad boy with a sensitive side, the meticulously choreographed musical numbers, the heartfelt Disney lessons about self-love and self-expression.
  18. The dog-and-owner interplay ranges from the awesome and comic to the cringe-worthy.
  19. You won't be drawn to True Blood if you don't like a heightened, almost cartoonish atmosphere. Paquin, giggly but calmly assertive, is something of an acquired taste as Sookie.
  20. It won't insult your intelligence, and it has a completely likable lead actor in Kyle Bornheimer; but Worst Week is nevertheless completely predictable and unambitious.
  21. Barker is written as the stereotypical rogue cop who crosses the line into illegality, but Swayze's presence is complex enough to add mystery and weight that aren't in the script....[but] take Swayze and his gravitas out of the picture, and The Beast is a mediocre series that would probably lurk on the cable TV lineup without much notice.
  22. The two-part miniseries makes missteps aplenty, with tone and plot changes from the novel that will likely offend purists. But it nonetheless has a warm spirit and an original vision, which is more than I can say for Roman Polanski's rote 2005 version.
  23. The different elements hang together as a nicely faceted whole--until the final minutes, that is. Ultimately neither movie nor series, neither beginning nor end, Virtuality is a flight with no destiny.
  24. At this point, Scrubs has turned its original style into a formula; the fantasy sequences are more predictable, the earnest denouements are automatic. It’s a good formula, but one that’s no longer vibrant.
  25. Without its classic, punk, and alternative allusions, the New York romantic comedy would be just another ''Sex and the City" with dudes, another ''Jake in Progress" or ''Four Kings." But with its musical knowing, ''Love Monkey" comes off more like a small-screen ''High Fidelity."
  26. It succeeds as a charming, silly, and idealistic piece of whimsy along the lines of "In and Out."
  27. Ever respectful of its source, the miniseries doesn't add on sexuality so much as it seeks and finds character depth and dimensionality.
  28. Walters makes the movie seem like more than it is. She gives us a fully dimensional woman--an art teacher--who is idealistic, self-righteous, humorless, God-fearing, affectionate toward her students, driven, and not any one of those qualities to a great extreme.
  29. Defying Gravity is a perfectly decent bit of sci-fi soap - some cool “Star Trek’’ futurism, plenty of pretty “Grey’s Anatomy’’ ensemble melodrama, and a twist of eerie “Twilight Zone’’ mysteriousness when characters refer to the high-tech spaceship as if it has a will of its own.
  30. The pop allusions (to Carson Daly, Alfred Hitchcock) and the fog-machine-based production design are flat and unambitious. But “The Vampire Diaries’’ nonetheless satisfactorily opens up yet another TV world of heightened youth, where blood-sucking is a metaphor for a whole range of fears and desires.

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