Boston Globe's Scores

For 1,235 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 5.3 points lower than other critics. (0-100 point scale)
Average TV Show review score: 60
Highest review score: 100 Game of Thrones: Season 4
Lowest review score: 0 Sons Of Hollywood: Season 1
Score distribution:
  1. Mixed: 0 out of 617
  2. Negative: 0 out of 617
617 tv reviews
  1. The show is neither here nor there, neither amusing nor affecting. It doesn't really call out for further viewing, which is not so unusual at all.
  2. "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
  3. Picket Fences seems to have no reason for existence other than for a very smart writer to test just how smart he is. In this case, too smart by half. Unfortunately, "Picket Fences" may be just smart enough to divert people from the better dramatic series at 10, "I'll Fly Away." [18 Sept 1992, p.58]
    • Boston Globe
  4. The New Normal is sweet-natured, in the way the characters mingle their lives together; but the jokes, they are mighty spotty.
  5. This is not the most seamless pilot of the season, or the most enjoyable. But nobody whets the appetite for more as well as Bochco. "Cop Rock" is the most exciting program of the fall season. [26 Sep 1990, p.47]
    • Boston Globe
  6. It’s too broad and familiar to hold attention.
  7. A try at a male "My So-Called Life," with a heaping helping of "Dawson's Creek" on top. [7 Oct 2004]
    • Boston Globe
  8. There is no mistaking that this is a bromedy. But this is a smart bromedy. Ladies, don’t be afraid to watch. Out of the gate, Leary creates characters that are identifiable and likable.
  9. It’s an ambitious, almost indescribable series that has fun while feeding into American rage over our government’s partisan mania.
  10. Dreyfuss impressively keeps Madoff’s villainy human-scaled and, at times, petty, and therefore more potent. The miniseries that is constructed around him, though, is flat and simplistic, with none of the intelligence and intrigue that has elevated other stories set in high finance, “Billions” and “The Big Short.”
  11. The humor is madcap and inane where it should be wry, and the characters are stubbornly predictable. The editing of the show is swift and bouncy, as it is on "Burn Notice,'' but still the hour drags. It's just not much fun.
  12. Relies so heavily on... amateurish re-creations that it undermines its otherwise mind-blowing survival stories.
  13. Parenthood is a fairly promising ensemble dramedy that shows TV expanding beyond an emphasis on nuclear families to look at broader family systems reaching from ages 5 to 75.
  14. It's too bland to elicit very strong feelings either for or against. It's a legal drama with the same kind of buddy dynamic as "Psych" and "White Collar," and by the end of the hour--or, just for tonight, the hour and 20 minutes--I felt like shrugging my shoulders.
  15. The one-liners are broad, the plots preposterous. And yet it all works in a lighthearted-summer-fare kind of way, helped along with almost pornographic images of Hamptons wealth.
  16. If this “Battleship” meets “Contagion,” tension plus ick factor, hazmat-suits-for-all! kind of tale is your bag of summer escapism, then by all means climb aboard The Last Ship. It may be all formula and archetypes, but that’s Bay’s bread and butter, and the first two hours pack enough oomph to make you want to see what happens when the Ship finally pulls into port.
  17. The pluses of the show include watching Leary have a good time and seeing the way the cast gels around him.... Other TV series set in the music business--“Nashville,” “Empire”--have a lot more genre awareness and seem to make the characters’ enthusiasm believable enough. But on Sex&Drugs, even the costumes appear generic and unrealized.
  18. If Mad Love pushes toward a more distinctive identity and grows beyond TV's standard two-couple romantic situations, there may be hope.
  19. When The Lottery conjectures about the scary cultural tilt that a lack of fertility could cause around the world, it’s at its best.... Unfortunately, the makers of “The Lottery,” led by writer-producer Timothy J. Sexton, who was one of the five screenwriters on the similarly themed 2006 movie “Children of Men,” are more concerned with a far more formulaic suspense story line.
  20. There is no sense of who Cheney is, beyond his restatements.
  21. 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.
  22. Everything aside from Pacino in this movie is surprisingly ordinary and lacking.
  23. "Shark" is a very conventional courtroom TV drama about a do-good lawyer, and its only distinction is the ferocious acting of Woods.
  24. It’s hard to fault a drama that celebrates altruism and tries to glamorize social conscience. But I found myself cringing at the condescending scenes of our rich white savior wandering among the Africans with their colorful outfits and drum music, his checkbook at the ready in case he needs to bribe a local.
  25. Despite Cohen's talent for submerging himself in his characters, Da Ali G Show is a spotty venture. As on "Saturday Night Live," the sketches are overextended instead of staying short and tart. And Cohen only flirts with political and cultural satire as he toys with his guests, who also include former US attorney general Richard L. Thornburgh. He resists making real points about America, falling back on the more small-minded fun of saying dirty words in front of unsuspecting people or watching them writhe when they hear his sex talk. Ultimately, he's a version of Howard Stern's interviewer Stuttering John, only in more exotic drag. [22 Feb 2003, p.F12]
    • Boston Globe
  26. "Day Break" doesn't quite work, not only because of its redundancies but because its story line becomes simultaneously convoluted and pointless.
  27. It's a single-camera comedy that comes close, at times, to feeling like a live-action cartoon. It's not as hilariously cutting as "Chappelle's Show" used to be. But the tone is entertaining, and the format fits.
  28. It comes off as a straining, overly serious wannabe.
    • 60 Metascore
    • 70 Critic Score
    This is a far campier and cartoonier RoboCop than the original. Even when the wit is blunt, the writing is snappy; and the acting is just broad enough to poke a little fun at itself. [16 Mar 1994]
    • Boston Globe
  29. The look of the new X-Files may be familiar, but as a whole, it feels rote and unintentionally dreary.

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