Boston Globe's Scores

For 1,014 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 Deadwood: Season 1
Lowest review score: 0 The Real Wedding Crashers: Season 1
Score distribution:
  1. Mixed: 0 out of 488
  2. Negative: 0 out of 488
488 tv reviews
  1. The series, premiering tomorrow night, is completely hackneyed, a dull dropout from the Adult Swim school of looney 'toons.
  2. A show so stunningly derivative that it feels a little bit insulting.
  3. It's not the weakest of the new supernatural pilots, but it so quickly falls into generic horror moves and a stifling atmosphere that it doesn't make for a terribly auspicious hour.
  4. While there's nothing cringingly awful about this new WB series -- see Fox's ''Unan1mous" for that -- it nonetheless succumbs to one of the great TV sins: mediocrity.
  5. The more the script pushes its stock questions of faith, the more cerebral the movie becomes. And cerebral isn't a good thing when you're talking about horror.
  6. The animated comedy, which premieres on HBO tomorrow at 11 after Little Britain USA, is unnecessarily slow and slack.
  7. The show remains a poorly conceived piece of work that throws a whole mess of relationship and medical cliches at us and hopes for the best.
    • 63 Metascore
    • 30 Critic Score
    Despite its fancy flips and dizzy floor routines, Make It is unconvincing as a portal into this subculture and numbingly hollow as a commentary on teenage life.
    • 55 Metascore
    • 30 Critic Score
    The show is like watching fish getting shot in a barrel. It offers up poor souls with harebrained schemes and makes merry sport of eviscerating them.
  8. Mercy is a bunch of played-out hospital cliches placed together in hopes of being the next “Grey’s.’’
  9. A junky sitcom that isn’t old school so much as mold school.
  10. Sure, the show will raise awareness of organ donation; but it is certainly not going to raise the profile of good TV drama. Casting and nuanced writing might have helped, but neither are in evidence here.
  11. Alas, it’s an amateurish take that feels more like a string of failed “Funny or Die’’ sketches than a fully developed series with distinct characters.
  12. This attempt to milk the success of the 2008 movie “300’’ is a major dud, from the C-level production values and shoddy green-screen technology to the horrible makeup that turns star Lucy Lawless into a Raggedy Ann doll.
  13. The Jerry Seinfeld-produced reality show may just slide backward into the ditch and push NBC farther down into the hole....It was an underwhelming, contrived product that didn’t bode well for the hourlong version of the series.
  14. They don't promise to be more than a collection of types, like the generic figures in TV's "Poseidon Adventure'' remake. And if we don't care about them, then it's hard to care about the possible threats that surround them.
  15. Not a single one of the characters were funny enough, or touching enough, to make me want to see more of them. If the Wests were thrown in jail, I'd be tempted to throw away the key.
  16. It's just a flat traditional sitcom built around lazy, repetitive jokes and audience cackles. It's just bad.
  17. There's not a hint of logic in the procedural aspect of the show. The development and the resolution of tonight's case, in which a man on death row is trying to prove he isn't a cop killer, represent the sloppiest, most factory-like TV writing there is. And there's not much realism afoot, either.
  18. Like "The View," The Talk was an hour of plastic blatherers pretending to be a microcosm of American women.
  19. He is so relentlessly bitter in Lennon Naked that, ultimately, his bitterness has no emotional weight. The script, by Robert Jones, is remarkably spotty.
  20. Don't ask me what Retired at 35 has to offer. TV Land's new companion sitcom for "Hot in Cleveland" is a piece of brash nonsense that, with jokes featuring older people talking about "Facialbook" and "texturizing," seems like it was written to target people who died about 30 years ago.
  21. For the most part, The Pee-wee Herman Show on Broadway is stale sugary shtick on a candy-colored set with no new resonance--no undercurrents about childhood, or innocence, or even Pee-wee Herman.
  22. There's nothing dishy, or infuriating, or entertaining about the miniseries. It's enervating and unnecessary.
  23. The show never takes off, and Reiser, best known for "Mad About You," winds up looking like a shoddy replica.
  24. Franklin & Bash is not a guilty pleasure, because there's no pleasure here to regret, just strained, sexist, frat-boy self-love.
  25. The animals can't make a sitcom work unless they're surrounded by good human writing and human originality, both of which are in short supply here.
  26. Loosely based on the 1987-89 series, it's a silly, flat piece of work that is all about posing longingly in the face of impossible love.
  27. [Malibu Country] is a traffic jam of culture-clash cliches, numbing laugh track cackles, and fake stage-set lighting.
  28. It’s an oddly unnecessary piece of work, a vanity production from top to bottom with very little that feels genuinely candid.

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