Boston Globe's Scores

For 1,105 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 5.9 points lower than other critics. (0-100 point scale)
Average TV Show review score: 59
Highest review score: 100 Deadwood: Season 1
Lowest review score: 0 Unan1mous: Season 1
Score distribution:
  1. Mixed: 0 out of 537
  2. Negative: 0 out of 537
537 tv reviews
  1. 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).
  2. 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.
  3. 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.
  4. 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.
  5. With its pleasing San Francisco locales and McKidd's sympathetic performance, "Journeyman" is entertaining enough.
  6. 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.
  7. 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.
  8. 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.
  9. We've seen all these characters countless times before in movie and TV westerns, but the actors give them distinction here.
  10. Invitingly bizarre... [but] despite all the promise of its premise about the changeability of self, "Meadowlands" never quite rises to excellence.
  11. "Shark" is a very conventional courtroom TV drama about a do-good lawyer, and its only distinction is the ferocious acting of Woods.
  12. For a certain segment of the audience--men, boys, evil babies, talking bears--it’s likely to go over quite well.
  13. It efficiently, if unevenly, introduces nine new characters and recaptures some of the sense of wonder that made NBC's 1966-69 original the Holy Writ of screen sci-fi. [16 Jan 1995]
    • Boston Globe
  14. 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.
  15. So much about the Fox series is unseemly, and I don't just mean the commercial-to-show ratio and the sponsor plugs, which have been downright obscene. "American Idol," a new hybrid of reality TV and beauty pageantry, represents some of the crudest aspects of both network TV and the pop-music industry. ... And yet, and yet. "American Idol" remains addictive TV. [4 Sep 2002]
    • Boston Globe
    • 55 Metascore
    • 60 Critic Score
    NBC’s Peter Pan Live! on Thursday night was endlessly, weirdly watchable, which is not the same thing as a coherent artistic triumph. But on balance television needs more of this kind of daring.
  16. Without any framing background information, this affectionate documentary and its continual monologues can feel a little too insidery and indulgent.
  17. It's a contrived product, but the storytelling reveals the cases and their solutions nicely, if straightforwardly.
  18. The lack of a human entry point renders the whole thing passionless. It's more of a slick contraption than a truly thrilling hour.
  19. Entertaining, stylish, and, most of all, slight.
  20. 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.
  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. Ever respectful of its source, the miniseries doesn't add on sexuality so much as it seeks and finds character depth and dimensionality.
  23. It may not be groundbreaking, but for Judd fans, Missing isn't the worst way to lose an hour.
  24. 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.
  25. The wit of the historical re-creations, along with the excellence of the many guest actors in them (including, this season, Connie Britton, Kristen Wiig, Aubrey Plaza, Owen Wilson, and Jack McBrayer) helps to overcome the repetitiveness and slightness of the formula.
  26. 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.
  27. But while it shows Heche at an advantage, the series itself is, to tap into the script's car-driving metaphors, just a rusty old vehicle.
  28. It's a fun ride at first. The series is tightly plotted, and the twists create moments of satisfying intrigue ... But juicy plot turns alone cannot fuel a series for long, especially when they repeat themselves, and the limitations of "Falcone" become clearer in its second and third episodes. [4 Apr 2000]
    • Boston Globe
  29. 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.

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