Boston Globe's Scores

For 1,067 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 6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 59
Highest review score: 100 Rescue Me: Season 2
Lowest review score: 0 Twenty Good Years: Season 1
Score distribution:
  1. Mixed: 0 out of 518
  2. Negative: 0 out of 518
518 tv reviews
  1. 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.
  2. 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
  3. 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.
  4. 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.
  5. Alas, the seductive, interesting surface of "Carnivale" can't mask its facile pretensions. [12 Sep 2003]
    • Boston Globe
  6. 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.
  7. Essentially, Mary and Martha operates like an EZ-to-read Lifetime movie with HBO production values.
  8. I want 666 Park Avenue to be scarier and more interesting.
  9. 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.
  10. 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.
  11. If Mad Love pushes toward a more distinctive identity and grows beyond TV's standard two-couple romantic situations, there may be hope.
  12. It feels more like a programming move than a creative endeavor.
  13. 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.
  14. 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.
  15. 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.
  16. 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.
  17. It’s a bland, cliched kind of offbeat, as she teases him and he teases her in an all too familiar manner.
  18. 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
  19. It’s just another case-of-the-week procedural, and McPhee seems out of place.
  20. 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.
  21. "Casanova" is a giddily unconventional tale of an adventurous youth, but then it's also a stock and inflated portrait of old age.
  22. On some level, these women are a little too easy to judge and mock. Then again, it's hard to look away.
  23. Neither the plot nor the characters are sufficiently evocative to suggest that viewers will want to spend months, much less years, following them.
  24. There are a few successful jokes here and there, and some able physical comedy involving Bornheimer and Gathegi, but those moments get lost in the shuffle of predictability.
  25. There’s a bit of a plot swerve at the end of the episode.... [which] suggests that with time, Graceland might venture into some ambiguous territory. Right now, it’s looking as stuck in the past as Elvis’ estate.
  26. 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.
  27. Despite all its contrived reality melodrama, ''American Inventor" features a steady stream of entertainingly kooky and cool creations.
  28. The miniseries is an ordinary but not awful piece of science fiction, one you won't hate watching and yet one you shouldn't hate missing.
  29. It stays old school and unambitious in order to blend in well with the classic sitcoms on TV Land's roster. The scripts are more like excuses for the stars to go on camera and ham it up than well-constructed state-of-the-art comic material.
  30. None of the story lines, from the young maid’s love of her boss’s son to the murder plot, promises to defy expectations. All the show’s potential gets crushed under the weight of over-familiarity and Cherry’s cookie-cutter technique.

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