Boston Globe's Scores

For 1,015 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 The Larry Sanders Show: Season 4
Lowest review score: 0 Sons Of Hollywood: Season 1
Score distribution:
  1. Mixed: 0 out of 489
  2. Negative: 0 out of 489
489 tv reviews
  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. 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."
  8. It succeeds as a charming, silly, and idealistic piece of whimsy along the lines of "In and Out."
  9. Ever respectful of its source, the miniseries doesn't add on sexuality so much as it seeks and finds character depth and dimensionality.
  10. 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.
  11. 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.
  12. 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.
  13. Margulies and Noth--both of whom have a similarly dark appeal--are well-matched onscreen. Alas, if you feel a “but’’ or two coming, you would be correct. The problem I have with The Good Wife is something that mars too much TV: telegraphing.
  14. For a certain segment of the audience--men, boys, evil babies, talking bears--it’s likely to go over quite well.
  15. It's hard to know where The Middle will go after tonight's decent pilot. And that's part of the sitcom's promise, that it has the potential to blossom into a sweet if small celebration of a family of oddballs living distinctly unhip lives.
  16. Human Target is perfectly adequate action fluff. It’s fast-paced, chock full of fight choreography, and filled with gimmicks including an out-of-control train and an upside-down airplane.
  17. Parenthood is a fairly promising ensemble dramedy that shows TV expanding beyond an emphasis on nuclear families to look at broader family systems reaching from ages 5 to 75.
  18. The familiar show, which is set in Boston but too clearly filmed elsewhere, adds in some romantic intrigue, as both Harmon and Alexander appear to be interested in the same FBI agent (Billy Burke). But the dominant theme on Rizzoli & Isles, as on "The Closer,'' is fighting crime and not fighting tears.
  19. The potential for cringeworthiness is high, and the pilot sometimes falls on the wrong side of the line between self-deprecatingly comic and just plain mean. But there's a real sweetness to the tentative romance brewing between Mike, the beat cop played by comic Billy Gardell, and Molly, an elementary school teacher (Melissa McCarthy).
  20. The lack of a human entry point renders the whole thing passionless. It's more of a slick contraption than a truly thrilling hour.
  21. Just as criminals can't help but head back to old haunts, mega-producer Jerry Bruckheimer (the "CSI" franchise "Cold Case") uses familiar tactics in this slickly shot, breathlessly paced, formulaically plotted action drama.
  22. It's just a little novelty, much like the plastic body fluids its characters are selling.
  23. Without any framing background information, this affectionate documentary and its continual monologues can feel a little too insidery and indulgent.
  24. Ultimately, Fisher comes across like that overly intelligent, entertaining, articulate analysand who has her own story all figured out, but still doesn't know how to let it go.
  25. While little about The Cape could be deemed fresh - from its noir-ish "Dark Knight"-esque color palette to the sometimes boilerplate dialogue - the show has several elements going for it.
  26. Known for asking tough questions and being the cranky "America's Got Talent" judge, Morgan was indeed surprising--surprisingly soft. He failed to press Oprah hard on any of her more touchy-feely answers. And yet his Barbara Walters-esque method worked, to some extent, since Oprah is not one to bend to pressure.
  27. USA's Fairly Legal is fairly good. OK, I hate myself for that. But the phrase "fairly good" just seems so right in this case.
  28. Ultimately, though, Amanda Knox: Murder on Trial in Italy isn't as sensational as it might have been. It unfolds without too much of the lurid caricature of so many other Lifetime movies.
  29. None of the contestants are quite as memorable as their ideas, except for the man fighting for Saucy Balls. The judges are a little more vivid, remaining firm in their opinions and unafraid to reject proposals without much apology.
  30. It's all extremely familiar material, despite plot tweaks here and there, and yet the show is still somewhat charming in its emphasis on idealism and bravery. Flimsy, but charming enough.

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