Boston Globe's Scores

For 990 reviews, this publication has graded:
  • 45% higher than the average critic
  • 3% same as the average critic
  • 52% lower than the average critic
On average, this publication grades 6.2 points lower than other critics. (0-100 point scale)
Average TV Show review score: 58
Highest review score: 100 Lost: Season 1
Lowest review score: 0 Sons Of Hollywood: Season 1
Score distribution:
  1. Mixed: 0 out of 474
  2. Negative: 0 out of 474
474 tv reviews
  1. [The first episode] is less an in-depth interview than a mutual admiration fest, plus a chance to watch two famous people playing golf.
  2. The miniseries is an ordinary but not awful piece of science fiction, one you won't hate watching and yet one you shouldn't hate missing.
  3. The regular characters are generic, and the plots are filled with holes. But as a mindless TV distraction bent on reminding us that the justice system is not perfect, ''In Justice" will do.
  4. It's not half bad, but then it's not even a quarter original.
  5. It's made of familiar slacker material that's slightly freshened with an improvisatory feel as the actors um-and-ah their way to their punch lines. And it's blissfully missing the canned laughs that make the likes of ''That '70s Show" so obnoxious. Still, ''Free Ride" is far from essential TV viewing.
  6. The show moves along briskly, and it benefits from the lack of a laugh track. But you have to accept the relentless repetition of some flagrantly juvenile jokes to enjoy yourself.
  7. On some level, these women are a little too easy to judge and mock. Then again, it's hard to look away.
  8. Despite all its contrived reality melodrama, ''American Inventor" features a steady stream of entertainingly kooky and cool creations.
  9. It feels more like a programming move than a creative endeavor.
  10. The premiere... doesn't inspire an instant commitment the way the premieres of "Prison Break" and "24" did.
  11. The insular nature of D.C. culture -- and the lack of natural light in Congressional hallways -- seems to impose monotony.
  12. We've seen this on-the-lam material many times before, and it offers very familiar family tensions.
  13. The show isn't a debacle, but it's a disappointing comedy that doesn't live up to an interesting premise.
  14. Much as I am compelled to watch "24," and admire its craft, I find that I can't take it seriously.
  15. Some of the performances were strong -- Aguilera actually managed to make good with her yodel on "It's a Man's Man's Man's World." And some were underwhelming -- the Chili Peppers singing a listless "Snow (Hey Oh)" amid crazy confetti.
  16. Written by Michael Hirst , who also wrote about Henry's daughter in Cate Blanchett's "Elizabeth," the series goes only rock-opera deep, moving full-steam ahead without much accounting for character motivation.
  17. The show doesn't aim very high. It's only a little bit more than just another network sitcom about marital conflict and about how men will be men.
  18. Shrek the Halls isn't much more than an extended skit: loud, hectic, unfocused.
  19. The material isn't nearly strong enough to support a full half-hour of TV.
  20. This version of his story arrives in a world that has seen not only "Lost," but "The X-Files," "Armageddon," and every other sci-fi show or movie that melds disaster, conspiracy, and teamwork. By now, it takes a lot more than clever ideas to keep us hooked.
  21. Kelley's fascinating concept--the personal and sexual politics of an open marriage--is stifled by CBS prime-time superficiality and an inability to intimately explore intimate subject matter.
  22. It goes through the motions quite competently and respectably. But it is nonetheless merely re-creating crime-series moves we've all seen many times before, with only the faintest afterimage of originality.
  23. The show is an extremely mixed bag, but he's an extremely likable extreme interventionist.
  24. Sordid Lives: The Series has a decidedly amateurish tone, with shoddy production values and acting that shows some seams. But the tone works in the show's favor.
  25. Samurai Girl takes up a lot of time and space, but manages to do only one surprising thing: prove that it's possible to be action-packed and dull at the same time.
  26. After the electrifying start, Fringe unfolds as an uneven, unwieldy piece of work that provides very few chills and thrills.
  27. NBC sent the first hour of tonight's two-hour season premiere to critics, and it's sprinkled with some of the original fun: inventive special effects, a twist or two, some nifty gore. That doesn't stop it from being the same, familiar mess.
  28. The series as a whole has a much better sense of itself, and a more confident tone, since Eli, his colleagues, and the viewers all understand that the guy is in fact a visionary. The coyness of season one is gone. The show, cocreated by Greg Berlanti, nonetheless falls short of being destination television.
  29. Instead of breaking new ground, Crusoe falls back on hokey Saturday matinee swashbuckling, a treasure map, explosions, and jungle sets with fake torches that invite you to look for "Survivor" host Jeff Probst around the next boulder.
  30. The style of the telling--heavy and, ultimately, hollow--perfectly matches the substance of the story. But of course that lugubrious style makes House of Saddam a slog, even while it is precisely paced and seamlessly directed.

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