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 Breaking Bad: Season 5
Lowest review score: 0 Sons Of Hollywood: Season 1
Score distribution:
  1. Mixed: 0 out of 556
  2. Negative: 0 out of 556
556 tv reviews
  1. Hot in Cleveland is a broad, Vaudeville-style sitcom where everything--story, characters, sets, sound engineering--is only there in service of the rat-a-tat of one-liners.
  2. "Top Design" is so derivative of "Project Runway," from the setup to the structure of the judging, that it's impossible not to make a point-by-point comparison, with the new show falling short on every level.
  3. This comedy is painfully broad, not to mention unimaginative and derivative of every newsroom sitcom from "The Mary Tyler Moore Show" to "LateLine" to "NewsRadio" to "Less Than Perfect."
  4. It strikes me as simply more of the same overwrought drama that we left by the side of the road in 2010, with a few returning characters--most notably Jack Coleman’s Noah Bennet--and a bunch of newcomers, none of whom is quite as charming as the young evos (evolved humans) from the first series, such as Hiro.
  5. The atmosphere is bland, the special effects and fight scenes are underwhelming, and the tone is mostly humorless.
  6. Despite its formal ambition, "Big Day" is disappointingly ordinary.
  7. It's a formulaic, lazily devised legal series that fails to surprise or amuse.
  8. Every scene, no matter where it's filmed, inevitably seems to become some kind of Palin political dispatch.
  9. Alas, HBO has come up with a dull, unimaginative interpretation of the podcast, essentially giving us animated versions of the three men sitting in a sound booth talking into microphones.
  10. The results are derivative, but they could have been worse. [9 Jan 1996]
    • Boston Globe
  11. The kind of TV product that's so instantly recognizable you feel like you've already dreamed it from premiere to finale. It might as well be over before it really starts.
  12. Looking isn’t just disappointing, it’s infuriating. Looking offers one hopelessly out-of-date idea about gay life after another.... All of that said, Looking is still a unique moment in gay television.
    • 42 Metascore
    • 40 Critic Score
    The show has seasoned reality TV talent behind it, so it's a surprise to find The Chopping Block structurally jumbled, with hardly any time spent introducing the contestants.
  13. It's trite and forced, a collection of cardboard types rather than characters.
  14. No, the only reason to tune in for The Lost Valentine is, of course, Betty White.
  15. The pilot is clearly half-baked. Whether that’s due to Barton or deeper creative problems is unclear.
  16. Story-wise, the show is awful--stock characters, nonsensical motivations, obvious plot turns, bad acting... The routines--and the dynamic filming of them --are dazzling enough to distract from the surrounding lousiness.
  17. The crass gags--some of which I laughed at--ultimately overwhelm everything else. Better to dole out the tastelessness carefully, so that each crude zinger has some value.
  18. The light-hearted international espionage series is predictable, pointless, and, worst of all, cutesy.
  19. Those hoping to see a focus on fashion may be disappointed, but the show has one very strong element in its favor: Surprisingly likable taskmaster/boss Kelly Cutrone, head of the PR firm People’s Revolution, is the glue that holds the chintz together.
  20. Very little here feels original or even pregnancy-specific, from the farcically miserable boss (Chris Parnell, uncharacteristically unfunny, even when playing off a small dog) to the sassy best friend (Cheryl Hines, trying her best and smoking up a storm) to the see-it-from-a-mile-away office romance that threatens to unravel once the truth is revealed.
  21. It's stupid, but not in the brilliantly stupid and farcical manner of "Arrested Development." It's just a fast-paced, empty, odd-couple comedy that is irritating before the end of the first episode.
  22. Everything is all up in your grill. The touching moments aren't just touching; they're mauling. The life lessons aren't just suggested; they're shouted at you.
  23. The edge in the writing on Donny! is pretty dull, as it simply restates all the absurd things about the entertainment business that we already know.... Donny isn’t a particularly interesting character on the show, and Deutsch--who uses his own dazzling New York townhouse on the show--never quite rises above the material.
  24. Death Comes to Pemberley is thoroughly and frustratingly middling.
  25. The NBC talk show wasn't a legendary late-night train wreck so much as a train stalled between stations, going nowhere, filled with impatient passengers.
  26. It has become a powerful, promotional machine, long on hype and short on the human feeling--the glee--that once made it so addictive.
  27. For the characters and for the viewers, the miniseries is a plodding excursion on the road to nowhere.
  28. The Royals might have been more promising if it had been a little more ebullient and a lot more outrageous. There’s something too ordinary about it. We want to be bloody gobsmacked, mate.
  29. Show creator David Schulner has failed to craft a workable TV concept, but he does keep the hours tumbling forward effectively, bringing in a number of subplots--Jason's wounded ex-girlfriend, a hostile co-worker trying to bring him down--to distract us from the nonsense.

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