Boston Globe's Scores

For 1,338 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 points lower than other critics. (0-100 point scale)
Average TV Show review score: 61
Highest review score: 100 Battlestar Galactica (2003): Season 3
Lowest review score: 0 Sons Of Hollywood: Season 1
Score distribution:
  1. Mixed: 0 out of 681
  2. Negative: 0 out of 681
681 tv reviews
  1. The show is sweet enough and features a likable cast. The assimilation material is a bit obvious in the two episodes provided for review, but that’s typical in new comedies trying to establish their stomping grounds.
  2. It takes on a familiar formula with urgency and emotion. [26 Sep 2002]
    • Boston Globe
  3. Pretty good, yes; but great, no--or at least not great in that Sunday-night way HBO has led people to take for granted.
  4. Without any framing background information, this affectionate documentary and its continual monologues can feel a little too insidery and indulgent.
  5. If you're an avid fan of any of them, there's probably something here for you, especially if you like to monitor subtext.
  6. Boston’s Finest is refreshingly free of reality TV’s more insipid and manipulative dramatic tricks.... [But] It can be a little dull over the long haul, perhaps because the action we see isn’t particularly interesting and the family lives of the cops are relatively incident-free.
  7. What a treat it is to find a medical show that doesn't turn its talented MDs into bedside saints in order to calm viewers' fears about mechanical HMO factories.
  8. [Corporate] doesn’t do anything new for the genre, really, as it satirizes blowhards in meetings and the bells and whistles of PowerPoint. But it’s funny in an uncompromisingly nihilistic way, it never resolves into artificial sweetness, and the ensemble seems to be having a great time.
  9. While Downton Abbey may be a large, loose, baggy TV monster, there’s definitely some art in the mix, sidled up right beside the elegant mush.
  10. "Studio 60" is one of the best new dramas of the season, assuming you aren't Sorkin-phobic, and with some tweaking it could be the very best.
  11. There were quibbles to be had with some of the casting--um, Mario Lopez?--some flat punch lines, one major sound glitch, a bizarrely haphazard approach to sanitizing the racier bits, and uneven pacing and tone. But, the frothy ’50s-set high school musical was so expertly executed and choreographed visually and exuberantly performed by most of the actors that it more than compensated for its flaws.
  12. It’s not as meticulous, cinematic, or original as those two shows ["Mad Men" and "Breaking Bad"], but it’s got the same kind of storytelling ambition. It’s the most vital new series of the year so far.
  13. Did portions of our Netflix marathon leave me underwhelmed, confused, and in gastrointestinal distress? Yes. Was it all washed away by the moments that worked, either as nostalgia or story progression, and a satisfying final episode ending in those much-talked-about four words that I’m not allowed to reveal? Yes.
  14. Ever respectful of its source, the miniseries doesn't add on sexuality so much as it seeks and finds character depth and dimensionality.
  15. The script is a little too silly and lighthearted for its own good, undermining its cleverness with absurd plot twists. [11 July 2012, p.D1]
    • Boston Globe
    • 75 Metascore
    • 70 Critic Score
    Stiller and company's satire, though too [TV-]oriented, is stylistically spirited and fresh. It's feisty without being nasty, and the show has an air of improvisation that plays into Stiller's easy, look-mom-I've-got-my-own-show persona. [8 Nov 1992]
    • Boston Globe
  16. "Brotherhood" ... may not be one of the all-time great crime shows, but it's certainly a very good one that improves with each episode.
  17. Tim Allen proved at the Emmys just how tired his shtick has become. [16 Sep 1992]
    • Boston Globe
  18. It's a likable one, marred only by some awkward abridgement.
  19. The show, based on the novel by Elmore Leonard, brings us some of the nuttiest backwoods characters since Sheriff Harry S. Truman and Agent Dale Cooper looked into the murder of Laura Palmer. [4 Aug 1998, p.E1]
    • Boston Globe
  20. The passive-aggression and the trivial battles build, and it begins to seem as though any of these characters could wind up being the murderer or the murdered. Big Little Lies will move you, and amuse you, all while it keeps you guessing.
  21. It’s a remarkable performance in its straightforward simplicity; she’s like a feral animal ferociously protecting her secrets.
  22. The show, from busy TV producer Greg Berlanti, who is also responsible for “Arrow” and “The Flash,” is filled with such bits of self-awareness, most of it conveyed light-heartedly, cleverly, and charmingly.
  23. It’s binge-worthy, make no mistake. But still, a few well-placed casual moments among family members would help, so that the story can breathe a bit, and so can we.
  24. The material isn't nearly strong enough to support a full half-hour of TV.
  25. Like all comedy, whether the duo always sticks the landing will depend on the viewer.
  26. While the premise sounds confusing, and sometimes is when it comes to the details of the dueling crimes-of-the-week, the producers and writers do a good job of keeping the worlds distinct and vivid, including some neat visual flourishes and subtle color coding.
    • Boston Globe
  27. As with a number of moments in the completely enjoyable Family Tree, I’m not sure how the actors kept themselves from laughing.
  28. Idealism and pragmatism clash predictably but powerfully. [4 Mar 1997]
    • Boston Globe
  29. Dern is fantastic as Amy--you cringe as her histrionics drive people away, and cringe again as she tries to suppress her feelings behind a veneer of New Age peacefulness.

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