Boston Globe's Scores

For 1,295 reviews, this publication has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% lower than the average critic
On average, this publication grades 5.1 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 Breaking Bad: Season 5
Lowest review score: 0 Twenty Good Years: Season 1
Score distribution:
  1. Mixed: 0 out of 655
  2. Negative: 0 out of 655
655 tv reviews
  1. With season two, the drama has fully come to life, with moments of savagery, hypocrisy, and bittersweet loyalty that make it a must-see show.
  2. The show isn't easy to warm up to, to be honest; it's draped in--and at times stifled by--meticulous period detail and too-perfect lighting, especially in Scorsese's premiere. But in episode two, the characters and the script begin to prevail, and the drama becomes more emotionally distinct and fascinating.
  3. The Hour is not "Breaking Bad" good, or "Mad Men" good, but it's close.
  4. Ed has enough potential to qualify as scary. Scary in a "Freaks & Geeks" maybe-I-shouldn't-get-too-attached kind of way. What I mean is that one of this fall's more promising new series is a romantic comedy that NBC seems ready to chuck to the wolves, as it did so tragically to "F&G" last year. [6 Oct 2000, p.D1]
    • Boston Globe
  5. As a TV antihero, Escobar is an enigma. But I can say that Narcos is nevertheless addictive, compelling, shocking, and even educational.
  6. Based on the first three episodes, I'm thinking season 2 is going to be even better and certainly more consistent.
  7. Right in the first episode, the relationships are well lived-in, the writing is honest and bound up with the actors, the tone effortlessly embodies drama, comedy, and life’s absurdities, the contemporary homes and locations click, and the ensemble acting is filled with little moments and jewels.
  8. The path that Marcus and Jas take turns into a slippery slope very quickly. All their idealism and youth get twisted into unrecognizable shapes. It’s a tragedy, an old tragedy told anew, with vigor and insight, sadness and resonance.
  9. Even though True Detective can feel very heavy at times, and as often as we’ve seen serial killer story lines, Harrelson and McConaughey were compelling enough that I powered through the first four episodes HBO sent for review.
  10. The series’ scope has never been broader, nor its ambition more apparent.
  11. Unlike the majority of today's youth-market vehicles, Undeclared has been put together with a refreshing lack of cynicism (as well as a refreshing lack of laugh track). [25 Sept 2001, p.E1]
    • Boston Globe
  12. This season as much as last, In Treatment brings us into more intimacy with its characters than almost any other series on TV.
  13. When people ask me to recommend good TV, they never seem to have heard about it. Yup, Breaking Bad is that series.
  14. [The] sentimental streak in the show is compensated by Frank's coldness and the scrappy urban realism, translated so effectively from the British original.
  15. No, The Sopranos is not the equal of Scorsese's masterpiece ["Goodfellas"], but it manages to bring a new spin to the words "dysfunctional" and "family," and it deserves its place alongside other HBO gems like "The Larry Sanders Show" and "Sex and the City." [9 Jan 1999, p.C1]
    • Boston Globe
  16. "Malcolm" is an instantly likable series, as it takes conventional TV-family material and gives it a good old-fashioned goose. [7 Jan 2000]
    • Boston Globe
  17. Beyond the formulaic outline, White Collar, is actually one of the best new shows of the season.
  18. A smart, exhilarating, well-written hour that, if anything, is a little naive about the folks who run our nation's most important office. [22 Sept 1999, p.E1]
    • Boston Globe
  19. A really extraordinary new drama.
  20. Created by Mike Judge, it does for techies, venture capitalists, and tech-biz campuses what Judge’s film “Office Space” did for cubicle dwellers, their bosses, and office parks back in 1999.
  21. A faceted little gem. It’s an evocative collection of vignettes about the dealer’s various customers, who live in the countless niches and experience the random events that define New York.
  22. With none of the conventional plot techniques TV viewers are accustomed to, it is a collection of rich moments and poignant characters that loosely adds up to something quite powerful.
  23. The writing remains remarkable, as it toggles between the rhythms and cliches of 1950s movies and the timeless resonance of mid-20th-century theater. You rarely find such economical and evocative scripting on TV.
  24. The unfolding of the Parade’s End narrative has been directed (by Susanna White) and written to challenge--sometimes too much so. While you always understand the connections among the characters on “Downton,” you have to piece them together yourself in Parade’s End.... It’s the kind of demanding storytelling that differentiates “The Wire” from most other crime series.
  25. This is the kind of TV that viewers ask for but rarely get, driven by characters who are more than the sum of one or two qualities and who harbor depths that are revealed slowly, subtly, and authentically.
  26. Fiendishly excellent.
  27. This knockout adaptation of the Lorraine Hansberry play is a model of both the pure power of stage acting and TV’s potential to bring us up close to that acting without deadening it.
  28. As witty and well-written as comedy series get. ... They used to say it was impossible to satirize something as self-satiric as television. That was before "The Larry Sanders Show." [1 Jun 1993]
    • Boston Globe
  29. There may be a smaller number of top-notch newbies this season, but Raising Hope, a celebration of parenthood and childhood, of small joys and big struggles, is certainly one of them.
  30. HBO's Generation Kill is remarkable.

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