Boston Globe's Scores

For 1,031 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 Twin Peaks: Season 1
Lowest review score: 0 The Real Wedding Crashers: Season 1
Score distribution:
  1. Mixed: 0 out of 497
  2. Negative: 0 out of 497
497 tv reviews
  1. Alas, the seductive, interesting surface of "Carnivale" can't mask its facile pretensions. [12 Sep 2003]
    • Boston Globe
  2. 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.
  3. You have one of the most complex and mixed-up and irritating mythology soufflés ever to be delivered in a single pilot.
  4. The Blacklist doesn’t waste time making sense, as the focus zooms all over Washington, D.C. Too often, it seems more like a blueprint for a show than a show.
  5. It’s nice to see Fox in primetime again, and he isn’t the problem with the show. The problem is the writing, which is domestic comedy at its laziest. You’ve seen this material before, and before that, too.
  6. 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.
  7. Lilley’s writing is sharp and funny. He has an uncanny insight into high school. But the story is slow to unfold, and after two or three episodes, the premise feels stretched as tightly as Lilley trying to squeeze into Ja’mie’s school uniform.
  8. The show digs into the issues too quickly, and with too much intensity, and the drama suffers. [22 July 2003, p.E1]
    • Boston Globe
  9. Mitt, Greg Whiteley’s fly-on-the-wall documentary about Mitt Romney’s two presidential campaigns, is always interesting (how could it not be, with the remarkable degree of access the candidate gave the filmmaker?) but never really involving.
  10. Neither the plot nor the characters are sufficiently evocative to suggest that viewers will want to spend months, much less years, following them.
  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. 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. Just as Lopez struggles to balance his loyalties, so does Gang Related struggle to bring fresh energy to the formula.
  15. Amid the dated material and the forced efforts to create catchphrases on Undateable, there is some skill in evidence.
  16. It has some compelling elements and some weaknesses, but since so much of what happens in the pilot is pure setup, it’s hard to tell where it’s going to go and if it will do so in a way that is engrossing or, given its subject matter, problematic.
  17. 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.
  18. 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.
  19. There are glimmers of hope for season two.
  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. When The Lottery conjectures about the scary cultural tilt that a lack of fertility could cause around the world, it’s at its best.... Unfortunately, the makers of “The Lottery,” led by writer-producer Timothy J. Sexton, who was one of the five screenwriters on the similarly themed 2006 movie “Children of Men,” are more concerned with a far more formulaic suspense story line.
  22. 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
  23. A larger shortcoming of the documentary is that it shows Nixon in an almost unrelievedly unflattering light. His presidency had substantial achievements to go with the failures and fiascoes, and he was a far more complex man than the relentlessly grim bozo seen and heard here.
  24. The show is mildly entertaining at best, with a few pluses--unusual story lines, particularly the one set after World War II, some gorgeous scenery, and one or two likable performances--counterbalanced by a few negatives. Least tolerable among the negatives: the occasional Harlequin Romance moments that have you waiting for the lass to shed her corset while the evening wind blows through Fabio’s hair.
  25. The atmosphere is suitably creepy--the show features that famously cinematic Pacific Northwest drizzle and Bear McCreary’s ominous score--and there are some tantalizing bits that make you wonder how the intruders work their mojo. But with so much heavy lifting required by viewers, it could prove difficult to let Intruders in.
  26. 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.
  27. 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.
  28. It’s just another case-of-the-week procedural, and McPhee seems out of place.
  29. It’s too simple and straightforward for its own good. Adapted by screenwriter Richard Christian Matheson, the narrative travels from A to B to C with nary an unexpected twist or subtle discovery.
  30. Benched isn’t awful, but it’s much too formulaic.

Top Trailers