Boston Globe's Scores

For 1,058 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 6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 59
Highest review score: 100 Breaking Bad: Season 4
Lowest review score: 0 Rules of Engagement: Season 1
Score distribution:
  1. Mixed: 0 out of 513
  2. Negative: 0 out of 513
513 tv reviews
  1. The impulse to protect his family comes much less naturally to David Duchovny's Hank Moody, the hero of Californication, which returns in top form for its second season.
  2. [A] charming, sweetly aching new HBO comedy.... [Stephen Merchant] makes even the most absurd and cringeworthy situations--his desperate attempts to enter an exclusive Hollywood hot spot is like horror comedy--feel authentic and conversational.
  3. The show no longer has that compelling air of discovery about it, since we know many of the characters well. But still, all of the small-town tensions and relationship undercurrents remain as direct and immediate and engaging as ever.
  4. Everything else about A Poet in New York, which is timed to air alongside the centennial of Thomas’s birth, is small and underwhelming. That sounds like a damning complaint, but the limits of the script, by Andrew Davies, actually benefit Hollander’s performance to some extent.
  5. In order to fully enjoy The Fashion Show--and there is plenty to enjoy in Bravo's new reality contest--you have to resist the urge to keep comparing it to "Project Runway."
  6. ''Big Love,"... is layered enough to do what HBO's ''The Sopranos" and ''Six Feet Under" have done so well: make atypical heroes knowable and universal. It pulls us into its parallel moral universe, rather than keep us standing outside in judgment.
  7. Berg has done a fine job of lifting his series above familiar teen melodrama and making it into a group portrait of a town.
  8. There are a few revelations in this rich adaptation, concisely written for the screen by Lucinda Coxon.
  9. The filmmakers deliver a fine balance of both elated big-gun worship and humiliated bathroom cleaning, melting-pot team-making and the cliquishness of ethnic groups.
  10. Weird and jagged, inventive and energetic, Orphan Black is a small blessing. While Hollywood is busy cloning, this show about clones is a singular pleasure.
  11. They make an appealing team, and it doesn't hurt that they're chasing bad guys through the breathtaking--and HDTV-ready--beauty of Hawaii. There's nothing groundbreaking going on here, just old-fashioned action-adventure fun. New old-fashioned fun, that is.
  12. It's funny, but painfully funny, as it skewers the world of banal sitcoms and youth-market mania. It's mean, but touching, too, as Kudrow's Valerie undergoes the humiliations of being a Nixed Big Thing. [3 June 2005, p.D1]
    • Boston Globe
  13. The action is intense in "Sleeper Cell," and each episode includes at least one stunning moment of violence or betrayal. But character depth isn't sacrificed to keep the pace moving, and there are valuable calms between the storms.
  14. Why watch The Wire if it's such tough-going--so difficult to follow and then, once followed, so pessimistic? Because it offers the kind of earned understanding that leads to progress.
  15. The ABC show... is one of the pleasures of the new season, although it may strike some viewers as too conceptually loose to love.
  16. Occasionally, logic is forsaken. But still The Escape Artist maintains its suspense despite the flaws, thanks to rich acting and smart direction.
  17. You don't like comedy that pushes the boundaries of good taste, you have no business here. But the material is presented with enough comic skill, cultural resonance, and clever mockery to rise above.
  18. The Wire is a cop drama from top to bottom. It does take a systemic view of the issue, like "Traffic," Steven Soderbergh's drug-trade saga. But it never sacrifices drama and character for lecture. [31 May 2002, p.E14]
    • Boston Globe
  19. All of the characters are misfits, and the pleasure of Party Down is watching the actors riff off one another as they go to extremes.
  20. Orphan Black has the potential to be memorable entertainment, if they [creators Graeme Manson and John Fawcett] can continue to deliver each and every plot development with a human touch.
  21. Collision is a satisfying emotional journey through the twists, turns, and overpasses of a dozen or so lives.
  22. ''24" is still an addictive amusement park ride of a show.
  23. As a filmmaker, Burns brings to bear a special vividness of scrutiny. No matter how familiar the material, he makes it seem as though he's discovering it afresh--so the viewer feels that way, too.
  24. Based on the pilot, [the] mystery promises to be surprising, psychological, and addictive.
  25. I like Archer because it succeeds where so many of the snarky animated series tend to fail. Reed and his writers and voice actors balance all the pop satire and raunch with a strong sense of the characters.
  26. It continues to be to Fellowes’s credit that he manages to write for such a large number and wide array of characters and yet makes viewers know and care about each one. None is purely hissable nor heroic, intentions are murky, and impulsive choices have major consequences, keeping the enjoyable soap at full lather.
  27. Television's blackest comedy. [13 Nov 1996]
    • Boston Globe
  28. Truly there can be something rich and lovely about hospitals, and there is something rich and lovely about Boston Med.
  29. Fellowes does a good job of keeping all of his players engaged while introducing fresh faces and bringing back old friends.
  30. It's a more visceral impression of a band on fire, and as such it offers plenty of satisfaction.

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