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 Downton Abbey: Season 1
Lowest review score: 0 Sons Of Hollywood: Season 1
Score distribution:
  1. Mixed: 0 out of 498
  2. Negative: 0 out of 498
498 tv reviews
  1. 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.
  2. 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.
  3. 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).
  4. The lack of a human entry point renders the whole thing passionless. It's more of a slick contraption than a truly thrilling hour.
  5. 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.
  6. It's just a little novelty, much like the plastic body fluids its characters are selling.
  7. Without any framing background information, this affectionate documentary and its continual monologues can feel a little too insidery and indulgent.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. 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.
  15. Jewel is a bit of a host-and-judge-bot, delivering her lines with a steely stiffness, but DioGuardi is usually worth listening to....Platinum Hit has a few flaws. The casting is far too predictable. All the songwriters are pretty and, with one or two notable exceptions, pushy.
  16. Olbermann is still Olbermann: left-leaning, punctuated by ironic humor, veering into bombast, and underpinned by sincerity. You'll just need to look a little harder in the far reaches of cable to find him.
  17. It's completely stupid, although somehow, on top of it all, it manages to pull out a laugh or two if you're willing to channel your inner juvenile.
  18. The mixing of those elements--crassness, poignancy, social commentary--is a hard one to master, and Lilley doesn't always succeed in tying them together in a way that is funny beyond the amusing cringe of recognition.
  19. Somewhere in this big pile of plot is a potentially enjoyable series, if the producers can figure out how to balance the week-to-week procedural elements of McDeere's court cases with the overarching mystery of his new associates' sinister secrets.
  20. It may not be groundbreaking, but for Judd fans, Missing isn't the worst way to lose an hour.
  21. The J.R. one-liners tend to satisfy, but everything else is boilerplate, which hampers the younger cast.
  22. 41 is less an example of close and personal than up-close and fawning.
  23. Revolution is just all right, no better, no worse.
  24. The debut isn't disastrous by any means, it just doesn't crackle.
  25. I had hoped The Following' would be a more self-aware about its own violence... Instead, The Following simply goes for more generic thrills, using a lot of horror-story clichés including making the most virulent followers into boys and girls next door. It's a well put together show, so that the four episodes sent for preview flew by. But it doesn't invite bigger thoughts, which is what violent cable series such as "Dexter" and "Boardwalk Empire" have done at their best.
  26. The Fox series' formula is pretty stock teen material, with immature guys and unsuspecting parents and ditsy girls, but it's got a few inventively surrealistic scenes and a breezy tone that make it worth watching. [22 Aug 1998, p.C4]
    • Boston Globe
  27. It’s just fine, although it never strays outside the conventions of poignant coming-of-age stories. Everything about the show is too familiar. The sincerity is refreshing in an animated context, but the characters and the stories are old hat.
  28. The show, from Greg Berlanti and Nicolas Wootton, does a good job of making Clark both appealing and overly ambitious.... What doesn’t work at all in the first two episodes of Golden Boy is the more familiar procedural material.
  29. [Piven] brings a contemporary delivery that is jarring in the context of all the period elements around him. Alas, in this particular entourage, which is filled with promise, Piven is the weak link.
  30. It's just a thoroughly conventional multi-camera sitcom rooted in familiar Felix-Oscar shtick and that tried-and-true comic standby, a cute kid. It's old school...And happy to be that way. [22 Sept 2003, p.B7]
    • Boston Globe

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