Boston Globe's Scores

For 1,165 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 Behind the Candelabra
Lowest review score: 0 Rules of Engagement: Season 1
Score distribution:
  1. Mixed: 0 out of 573
  2. Negative: 0 out of 573
573 tv reviews
  1. 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.
  2. 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.
  3. The premiere... doesn't inspire an instant commitment the way the premieres of "Prison Break" and "24" did.
  4. 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.
  5. The show isn't a debacle, but it's a disappointing comedy that doesn't live up to an interesting premise.
  6. Just as Lopez struggles to balance his loyalties, so does Gang Related struggle to bring fresh energy to the formula.
  7. 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.
  8. 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.
  9. It doesn't add up to the most entertaining result, given the promise of the cast and creative minds involved.
  10. 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.
  11. You have one of the most complex and mixed-up and irritating mythology soufflés ever to be delivered in a single pilot.
  12. 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.
  13. Benched isn’t awful, but it’s much too formulaic.
  14. The insular nature of D.C. culture -- and the lack of natural light in Congressional hallways -- seems to impose monotony.
  15. Despite its unique premise, the show delivers little more than network sitcom material tarted up with cable raciness. [5 Aug 2005]
    • Boston Globe
  16. 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.
  17. There is nothing exceptional or original about the show.
  18. Ultimately, you'll want to think about Dollhouse more than you'll want to think about watching Dollhouse.
  19. 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.
  20. The Cheezburger team is vaguely entertaining, a reality counterpart to "The Office."
  21. You've got to be something of a Bette-a-holic to take this much of Midler's raging insecurities and slapstick stylings on a weekly basis. Even when she's missing from a scene in "Bette," which is rare, the rest of the show's character ensemble is fixated on her and her bottomless pit of need. [11 Oct 2000, p.C1]
    • Boston Globe
  22. The show is gloomily sincere and uneven.
  23. The boilerplate talk format was reminiscent not only of Leno’s “Tonight Show,’’ but of almost every other late-night talker on the air right now.
  24. The new series works just OK. The problem is, there actually isn't much of a need for the two dopes and their anti-wisdom anymore.
  25. It's not half bad, but then it's not even a quarter original.
  26. The show is neither here nor there, neither amusing nor affecting. It doesn't really call out for further viewing, which is not so unusual at all.
  27. The raunchy comedy on The League had me laughing out loud a few times, but mostly I felt as though I’d seen it all done better before.
  28. 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.
  29. 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.
  30. 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.

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