Boston Globe's Scores

For 1,141 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 Arli$$: Season 1
Lowest review score: 0 Twenty Good Years: Season 1
Score distribution:
  1. Mixed: 0 out of 556
  2. Negative: 0 out of 556
556 tv reviews
  1. The Cheezburger team is vaguely entertaining, a reality counterpart to "The Office."
  2. 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
  3. The show is gloomily sincere and uneven.
  4. 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.
  5. 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.
  6. It's not half bad, but then it's not even a quarter original.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. Shrek the Halls isn't much more than an extended skit: loud, hectic, unfocused.
  13. It goes through the motions quite competently and respectably. But it is nonetheless merely re-creating crime-series moves we've all seen many times before, with only the faintest afterimage of originality.
  14. Sure, it's nice to see Belushi in a new incarnation, and if I were trapped at a car repair shop in front of an episode I might be happy. But there are much better shows out there right now, and only so many hours in my day--and on my DVR.
  15. It’s a straightforward piece of work that, with some deepening of characters and a few detours from too well-trodden plot paths, could be a decent addition to the TNT lineup.
  16. No, not hooked on this generic-looking crime-solver. The premise is nonsensical.
  17. You will absolutely, one hundred percent love every second of Showtime's new series, The Borgias. If you are a set designer, that is. Or a costumer. Otherwise, you might be mildly entertained and yet still feel a gnawing hunger for something more--a flavor shot or two with your creme de la creme.
  18. If someone turns down the volume, ''Out of Practice" has the potential to become a likable, if conventional, sitcom.
  19. 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.
  20. 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.
  21. 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.
  22. The show digs into the issues too quickly, and with too much intensity, and the drama suffers. [22 July 2003, p.E1]
    • Boston Globe
  23. 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.
  24. There are glimmers of hope for season two.
  25. "Mad About You" isn't devoid of humor, but it's pretty lackluster after "Seinfeld." [16 Sep 1992]
    • Boston Globe
  26. 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.
  27. 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.
  28. 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.
  29. 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.
  30. 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.

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