Boston Globe's Scores

For 975 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 6.1 points lower than other critics. (0-100 point scale)
Average TV Show review score: 58
Highest review score: 100 Arli$$: Season 1
Lowest review score: 0 Sons Of Hollywood: Season 1
Score distribution:
  1. Mixed: 0 out of 470
  2. Negative: 0 out of 470
470 tv reviews
  1. The show never takes off, and Reiser, best known for "Mad About You," winds up looking like a shoddy replica.
  2. Franklin & Bash is not a guilty pleasure, because there's no pleasure here to regret, just strained, sexist, frat-boy self-love.
  3. 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.
  4. 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.
  5. [Malibu Country] is a traffic jam of culture-clash cliches, numbing laugh track cackles, and fake stage-set lighting.
  6. It’s an oddly unnecessary piece of work, a vanity production from top to bottom with very little that feels genuinely candid.
  7. The problem is almost everything around [Sarah Chalke], including the title, which is cutesy on a stick.
  8. On just about every other, deeper level--plotting, acting, dialogue--Hannibal is lousy.
  9. A pretentious exercise in cheap thrills, by great talents who've been allowed to run amok. [11 July 1997, p.D1]
  10. "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.
  11. 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.
  12. 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]
  13. 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]
  14. 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]
    • 49 Metascore
    • 30 Critic Score
    This once-sleek vehicle for twentysomething angst has pretty much run out of gas. [10 Jul 1996]
  15. It is possible for an ensemble of actors to overcome a lousy script, but that doesn’t happen on Camp.
  16. "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]
  17. 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.
  18. Underneath the lively shape-shifting surface, there are just new depths of irritation waiting to be plumbed. There are banal insights on issues such as privacy, feminism, and sex.
  19. This is the kind of material that gives sitcoms a bad name - not because it's so awful, but because it aims so low. It's middle-of-the-road, generic claptrap. [27 Mar 2002, p.D1]
  20. The first half-hour of The Millers is so banal, it’s just sad. There’s no promise lurking anywhere in the setup, nothing that could get better and become more central as the writers find the show’s voice.
  21. A missable new supernatural series populated by wooden actors and feeble plotlines.
  22. Not only does this sort of McDonald's approach to crime drama represent a serious lack of network imagination, it also threatens the dignity of the original "Law & Order" as it clones its formula. Think of the show's trademark ching-ching as the equivalent of the Golden Arches. [29 Sept 2001, p.F1]
  23. The creators of the show, some of whom were involved in the movie, have done little more than throw together familiar sci-fi fantasy influences, including H.G. Welles, "The Time Tunnel," "Quantum Leap," and even the movie "Mad Max," and then presented these elements without much intelligence or brio, despite the slick futuristic gadgetry and the moody, "X-Files" lighting. [22 Sept 1997, p.C9]
  24. Even with actors who have done good work elsewhere, this Baby is a curiously lifeless “reimagining” with a thoroughly modern polish that actually makes the story harder to believe and lands well short of its target of generating atmospheric chills.
  25. The show is, essentially, three dated, clichéd jokes told over and over again.
  26. The material is wooden, lacking the kind of deft writing that would push the premise beyond sitcom cliché and make the characters more engaging. Show creator Andrew Gurland tries to add some racy fun with a few super quirky supporting players, but they only feel tacked on and forced.
  27. The lousy effects that put the twins in the same room are sloppy, and the story line--ripped from a cheesy daytime soap--is worse.
  28. What demotes it from a C to a D is some of the laziest plot setups ever, as well as the dumbing down of "Friday Night Lights" alums Porter and Cress Williams.
  29. It's one joke ground to dust as the moms abuse their daughters and vice versa, ad infinitum.

Top Trailers