Boston Globe's Scores

For 991 reviews, this publication has graded:
  • 45% higher than the average critic
  • 3% same as the average critic
  • 52% lower than the average critic
On average, this publication grades 6.2 points lower than other critics. (0-100 point scale)
Average TV Show review score: 58
Highest review score: 100 Game of Thrones: Season 3
Lowest review score: 0 The Real Wedding Crashers: Season 1
Score distribution:
  1. Mixed: 0 out of 474
  2. Negative: 0 out of 474
474 tv reviews
  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. It's just a flat traditional sitcom built around lazy, repetitive jokes and audience cackles. It's just bad.
  7. 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.
  8. Like "The View," The Talk was an hour of plastic blatherers pretending to be a microcosm of American women.
  9. He is so relentlessly bitter in Lennon Naked that, ultimately, his bitterness has no emotional weight. The script, by Robert Jones, is remarkably spotty.
  10. 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.
  11. 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.
  12. There's nothing dishy, or infuriating, or entertaining about the miniseries. It's enervating and unnecessary.
  13. The show never takes off, and Reiser, best known for "Mad About You," winds up looking like a shoddy replica.
  14. Franklin & Bash is not a guilty pleasure, because there's no pleasure here to regret, just strained, sexist, frat-boy self-love.
  15. 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.
  16. 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.
  17. [Malibu Country] is a traffic jam of culture-clash cliches, numbing laugh track cackles, and fake stage-set lighting.
  18. It’s an oddly unnecessary piece of work, a vanity production from top to bottom with very little that feels genuinely candid.
  19. The problem is almost everything around [Sarah Chalke], including the title, which is cutesy on a stick.
  20. On just about every other, deeper level--plotting, acting, dialogue--Hannibal is lousy.
  21. A pretentious exercise in cheap thrills, by great talents who've been allowed to run amok. [11 July 1997, p.D1]
    • Boston Globe
  22. "Enlightened" with Laura Dern covered some of the same territory with sensitivity and honesty. Save Me, in the premiere, turns this subtle idea into a romp devoid of charm.
  23. The writing is stock, the acting is hollow, and the direction is perky and workmanlike. It lacks any of the clever stylistic accents and camp humor of the somewhat similar “Desperate Housewives,” and pity the poor viewer who tries to apply logic to some of the plot twists.
  24. So far, and that's an important qualification, watching "Big Brother" is only slightly more exciting than watching a drugstore surveillance tape. One week in, CBS's five-nights-a-week series remains slow, self-conscious, and visually sterile. [13 Jul 2000]
    • Boston Globe
  25. It's less surprising that it's so dull...So let's have a round of applause for these kids. And then change the station, because there's absolutely no drama here. [4 Oct 1990, p.68]
    • Boston Globe
  26. One Tree Hill needs a lot of work. The characters are painfully one-dimensional, as they fall on either the good or the bad side of the fence. Their actions are predictable based on whether they've been designated as angels or devils. The writers need to humanize them - especially the brothers - by giving them mixed feelings and unexpected lines. Also, some humor please. [23 Sept 2003, p.D14]
    • Boston Globe
    • 49 Metascore
    • 30 Critic Score
    This once-sleek vehicle for twentysomething angst has pretty much run out of gas. [10 Jul 1996]
    • Boston Globe
  27. It is possible for an ensemble of actors to overcome a lousy script, but that doesn’t happen on Camp.
  28. "CSI: NY" is a big disappointment, even if you're a diehard fan of the "CSI" formula. It's a groggy, overly atmospheric, and grim series that works much too hard to evoke "the city that never sleeps." [22 Sep 2004]
    • Boston Globe
  29. ABC Family has assembled 11 mannequins for “The Vineyard” who are so plastic, so Barbie and Ken, so perfectly put together, that they might as well have come marching off a factory line.

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