Boston Globe's Scores

For 1,141 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 5.5 points lower than other critics. (0-100 point scale)
Average TV Show review score: 59
Highest review score: 100 The Office (UK): Season 2
Lowest review score: 0 Unan1mous: Season 1
Score distribution:
  1. Mixed: 0 out of 556
  2. Negative: 0 out of 556
556 tv reviews
  1. 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.
  2. Secret Girlfriend could add up to something worthwhile, with more of that kind of elliptical character revelation and fewer generic dirty-boy adventures. Ultimately, I want to know more about “you,’’ not them.
  3. Fox’s wildly uneven, but potentially addictive new nighttime soap, Empire, feels like an anachronism.
  4. The pluses of the show include watching Leary have a good time and seeing the way the cast gels around him.... Other TV series set in the music business--“Nashville,” “Empire”--have a lot more genre awareness and seem to make the characters’ enthusiasm believable enough. But on Sex&Drugs, even the costumes appear generic and unrealized.
  5. Much as I am compelled to watch "24," and admire its craft, I find that I can't take it seriously.
  6. Change of venue notwithstanding, CSI: Cyber falls squarely in line with its predecessors and is a perfectly adequate diversion in the way that crime procedurals can be.
  7. It's too bland to elicit very strong feelings either for or against. It's a legal drama with the same kind of buddy dynamic as "Psych" and "White Collar," and by the end of the hour--or, just for tonight, the hour and 20 minutes--I felt like shrugging my shoulders.
  8. Allen displays a personality at turns engaging, enraging and endearing ... The problem is that "Home Improvement" is a one-joke sitcom. [17 Sep 1991]
    • Boston Globe
  9. It’s not boring, thanks to strong performances by Christopher Plummer as the ailing Justice John Marshall Harlan and Frank Langella as conservative Justice Warren E. Burger. But still, the loose script, by Shawn Slovo, doesn’t drive home the size and intensity of the moment.
  10. HawthoRNe seems bent on being reverential, complete with musical montages meant to break our hearts. It's not awful, by any means, just too good to be true.
  11. With luck, producer Barney Rosenzweig will soon decide what he really wants out of his show's characters, especially Daly, who quips tartly and fills out stiffly starched shirts. And the heavy-handedness of the scripts will prove less amusing as episodes pass. [31 Mar 1994]
    • Boston Globe
  12. It’s hard to fault a drama that celebrates altruism and tries to glamorize social conscience. But I found myself cringing at the condescending scenes of our rich white savior wandering among the Africans with their colorful outfits and drum music, his checkbook at the ready in case he needs to bribe a local.
  13. Reilly, who is British but who has a convincing American accent, is a sturdy lead. She nicely holds her own in her confrontational scenes with Redgrave. She projects an intelligence that is essential to her role, and in her manic scenes--dancing alone on a balcony ledge or becoming hypersexual--she manages to keep from sliding into full-on caricature. But the writing is too often lazy.
  14. The premiere... doesn't inspire an instant commitment the way the premieres of "Prison Break" and "24" did.
  15. The Playboy Club plods forward with no ballast, hoping that the vibrant early '60s music and the miles of bunny cleavage will compensate for the lack of original plotting and characters.
  16. The show isn't a debacle, but it's a disappointing comedy that doesn't live up to an interesting premise.
  17. Just as Lopez struggles to balance his loyalties, so does Gang Related struggle to bring fresh energy to the formula.
  18. If you like some of those undemanding USA shows, you just might cotton to this one. Taxi Brooklyn requires no thinking--in fact, it discourages thinking. Ido is winning, too, which helps matters.
  19. The problem with the miniseries, written by Peter Harness and directed by Toby Haynes, is its lack of emotional potency, at least in the first two episodes. At moments, the amazingly constructed magical set pieces threaten to overwhelm both the fine points of the plot and the wonderful performances.
  20. It doesn't add up to the most entertaining result, given the promise of the cast and creative minds involved.
  21. It all feels like “Curb”-cutting-room-floor material set atop a feeble plotline and a group of unrealized and disposable supporting performances. Clear History is pretty, pretty average.
  22. You have one of the most complex and mixed-up and irritating mythology soufflés ever to be delivered in a single pilot.
  23. It's a sweet, somewhat bland portrait of an Everygirl coming of age in suburban Connecticut in the 1980s, dealing with the class Heathers--here, they're Donna LaDonna and the two Jens--and crushing on the cutie transfer student with long blond hair.
  24. Benched isn’t awful, but it’s much too formulaic.
  25. The insular nature of D.C. culture -- and the lack of natural light in Congressional hallways -- seems to impose monotony.
  26. Despite its unique premise, the show delivers little more than network sitcom material tarted up with cable raciness. [5 Aug 2005]
    • Boston Globe
  27. 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.
  28. There is nothing exceptional or original about the show.
  29. Ultimately, you'll want to think about Dollhouse more than you'll want to think about watching Dollhouse.
  30. As actors, Lowe and Mitchell are burdened with shamelessly expository dialogue in which they must pretend to talk to each other when they're actually just explaining the case to viewers.

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