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 Game of Thrones: Season 4
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. Reckless is executed competently enough, with everyone holding up his or her end of the bargain by being hot and trying to enliven the routine premises. But just about everyone in the cast has done better work elsewhere.
  2. There are glimmers of hope for season two.
  3. "Mad About You" isn't devoid of humor, but it's pretty lackluster after "Seinfeld." [16 Sep 1992]
    • Boston Globe
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. The problem with Beggars and Choosers is that it's all too familiar, and too safe. It relies on a generic cynicism about the media, seemingly unaware that 23 years after "Network," we fully understand the ironies inherent in the TV industry. [19 June 1999, p.A14]
    • Boston Globe
  10. 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.
  11. 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.
  12. Some of it was compelling and some of it tedious.
  13. 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.
  14. 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.
  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. 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
  17. 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.
  18. 24 makes a feint toward change, before getting back on the same old mechanical cowboy ride.
  19. [The first episode] is less an in-depth interview than a mutual admiration fest, plus a chance to watch two famous people playing golf.
  20. Amid the dated material and the forced efforts to create catchphrases on Undateable, there is some skill in evidence.
  21. The Memphis location is meant to add distinction, but it doesn't quite work. The setting and the musical references seem oddly artificial, right down to Lee's stage performance, for which his voice has been dubbed.
  22. 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.
  23. 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.
  24. The show is an extremely mixed bag, but he's an extremely likable extreme interventionist.
  25. After the electrifying start, Fringe unfolds as an uneven, unwieldy piece of work that provides very few chills and thrills.
  26. Maybe if the individual fragments in Sense8 were better written, the uber-plot wouldn’t matter quite as much. The Sense8 stories are beautifully shot, including some fabulous action sequences; but they’re rooted in familiarity, formula, and cultural clichés.
  27. I love the way Allen Gregory talks down to every adult he encounters, as if they're members of a lower species. But the world built around that core of satire is a lot less promising.
  28. If the series was actually a disaster, that might at least be captivating, but as is, Anger Management is just an average sitcom with a few good laugh lines here and there that could star any middle-age actor
  29. 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.
  30. 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.

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