Boston Globe's Scores

For 1,079 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 24: Season 1
Lowest review score: 0 Sons Of Hollywood: Season 1
Score distribution:
  1. Mixed: 0 out of 526
  2. Negative: 0 out of 526
526 tv reviews
  1. 24 makes a feint toward change, before getting back on the same old mechanical cowboy ride.
  2. [The first episode] is less an in-depth interview than a mutual admiration fest, plus a chance to watch two famous people playing golf.
  3. Amid the dated material and the forced efforts to create catchphrases on Undateable, there is some skill in evidence.
  4. 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.
  5. 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.
  6. 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.
  7. The show is an extremely mixed bag, but he's an extremely likable extreme interventionist.
  8. After the electrifying start, Fringe unfolds as an uneven, unwieldy piece of work that provides very few chills and thrills.
  9. 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.
  10. 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
  11. 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.
  12. 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.
  13. Alas, the seductive, interesting surface of "Carnivale" can't mask its facile pretensions. [12 Sep 2003]
    • Boston Globe
  14. Sordid Lives: The Series has a decidedly amateurish tone, with shoddy production values and acting that shows some seams. But the tone works in the show's favor.
  15. Essentially, Mary and Martha operates like an EZ-to-read Lifetime movie with HBO production values.
  16. I want 666 Park Avenue to be scarier and more interesting.
  17. This version of his story arrives in a world that has seen not only "Lost," but "The X-Files," "Armageddon," and every other sci-fi show or movie that melds disaster, conspiracy, and teamwork. By now, it takes a lot more than clever ideas to keep us hooked.
  18. The show doesn't aim very high. It's only a little bit more than just another network sitcom about marital conflict and about how men will be men.
  19. If Mad Love pushes toward a more distinctive identity and grows beyond TV's standard two-couple romantic situations, there may be hope.
  20. This is a show that takes a very long while to find a stable tone and settle in. It veers recklessly and off-puttingly between brash one-liners and angst drama, between kooky times and personal tragedy, like a nervous guest doing stand-up at a shiva.
  21. It feels more like a programming move than a creative endeavor.
  22. The show moves along briskly, and it benefits from the lack of a laugh track. But you have to accept the relentless repetition of some flagrantly juvenile jokes to enjoy yourself.
  23. 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.
  24. Instead of breaking new ground, Crusoe falls back on hokey Saturday matinee swashbuckling, a treasure map, explosions, and jungle sets with fake torches that invite you to look for "Survivor" host Jeff Probst around the next boulder.
  25. MTV's scripted choices so far, including "Skins" and "The Hard Times of RJ Berger," have been interesting but ultimately disappointing. And Teen Wolf, so bland from the get-go, doesn't promise to change that streak.
  26. It’s a bland, cliched kind of offbeat, as she teases him and he teases her in an all too familiar manner.
  27. It's not as dark as Fox's "Married ... with Children." And not as funny. Barr is fine as a monotoned stand-up, but her routine, in both senses of the word, wears thin in the first half-hour. [26 Sep 1988]
    • Boston Globe
  28. It’s just another case-of-the-week procedural, and McPhee seems out of place.
  29. 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.
  30. "Casanova" is a giddily unconventional tale of an adventurous youth, but then it's also a stock and inflated portrait of old age.

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