Boston Globe's Scores

For 1,076 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 Lost: Season 1
Lowest review score: 0 Sons Of Hollywood: Season 1
Score distribution:
  1. Mixed: 0 out of 525
  2. Negative: 0 out of 525
525 tv reviews
  1. There’s a fine line between wink-wink clever and desperately cheesy. Tonight’s story crosses into Kraft Singles territory more often than it should, with bleeding statues and bloodshot eyes, sacrificial fires and some poorly acted demonic possession.
  2. The show is a grim spectacle, and juicy bait for end-of-the-world addicts such as myself. But the living people in The Walking Dead, those uninfected with the mysterious virus, they are far less compelling.
  3. Nothing appears to be particularly lived-in, but the look of Breathless is nonetheless breathtaking. That’s very good news for a story that tends to linger on the surface.
  4. Shrek the Halls isn't much more than an extended skit: loud, hectic, unfocused.
  5. 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.
  6. Sure, it's nice to see Belushi in a new incarnation, and if I were trapped at a car repair shop in front of an episode I might be happy. But there are much better shows out there right now, and only so many hours in my day--and on my DVR.
  7. It’s a straightforward piece of work that, with some deepening of characters and a few detours from too well-trodden plot paths, could be a decent addition to the TNT lineup.
  8. No, not hooked on this generic-looking crime-solver. The premise is nonsensical.
  9. You will absolutely, one hundred percent love every second of Showtime's new series, The Borgias. If you are a set designer, that is. Or a costumer. Otherwise, you might be mildly entertained and yet still feel a gnawing hunger for something more--a flavor shot or two with your creme de la creme.
  10. If someone turns down the volume, ''Out of Practice" has the potential to become a likable, if conventional, sitcom.
  11. If you don’t think too much about details and leaps in logic, The 100 moves forward swiftly. But the characters seem stuck in place, with one foot placed firmly in central casting. They’re bland, no ish about it.
  12. There are definite laughs and tears to be wrung from Doll & Em, but the actresses’ own inherent likability and warmth toward each other, oddly enough work against the premise.
  13. We don’t get enough of a sense of the characters’ ordinary emotional lives, which means we can’t easily bond with them; we only see their feverish flares of anger and their smoldering discontent as the episodes run forward. If we could spend a few subtle minutes with a character such as Kevin, look into his eyes and feel his sorrow, the show would have a more honest emotional potency.
  14. The show digs into the issues too quickly, and with too much intensity, and the drama suffers. [22 July 2003, p.E1]
    • Boston Globe
  15. There are glimmers of hope for season two.
  16. "Mad About You" isn't devoid of humor, but it's pretty lackluster after "Seinfeld." [16 Sep 1992]
    • Boston Globe
  17. Secrets and Lies isn’t sloppy, based on the first two hours; it’s well-organized enough, and decently shot. But it promises to be a hollow exercise signifying nothing much.
  18. The underwhelming cast brings nothing to the boilerplate action. Kelly is miscast as a biker chick, and making Bosley a hunk with computer skills fails to add life.
  19. It's a bit of a mess. I found myself wishing that the series, which tracks a loosely knit group of nine friends in the Washington Heights area of New York, actually had more direction.
  20. The actors aren’t bad at all, but the script seems to block them from deepening their performances and coloring in the gray along the way.
  21. There were no attempts during the hour to tweak the tiresome late-night moves for cable, to expand beyond what late night TV means on the networks.
  22. It's a gathering of familiar material that never quite distinguishes itself. I'd say the show is a "mash-up'' of its many influences, but that word implies intentionality and he Gates seems more like a lazy assemblage of cliches.
  23. It's an average piece of work, crammed with every frat-boy cliche you can imagine, and cast with actors who don't initially stand out.
  24. Some of it was compelling and some of it tedious.
  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. As entertaining as the crazy can be, there's an undercurrent of pathos in Celebrity Apprentice, hidden in the way these people bow to "Mr. Trump" and submit to the contrived challenges as if they're in rehab cleaning toilets.
  27. 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.
  28. The scripts pander too much to the sensibility they should be mocking - that Hollywood is a playland for big boys with an eye for scrawny women. Entourage doesn't need to become moralistic or politically correct, just self-aware. If the writers took another step back from their immature characters, the show's satirical edge might be sharper. [16 July 2004, p.C1]
    • Boston Globe
  29. When The Chair highlights the differences between its two stars, it is engaging and enlightening.... However, the show is significantly less interesting during some of the conversations that surround some of the decision-making.
  30. 24 makes a feint toward change, before getting back on the same old mechanical cowboy ride.

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