Boston Globe's Scores

For 1,065 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 Lost: Season 1
Lowest review score: 0 Sons Of Hollywood: Season 1
Score distribution:
  1. Mixed: 0 out of 517
  2. Negative: 0 out of 517
517 tv reviews
  1. It's an extraordinarily appealing series, one that's so much more than its easy label as a teen private-eye series. [22 Sept 2004, p.D12]
    • Boston Globe
  2. But the real question is: Will Dharma & Greg be able to expand its central, single joke into an entire series? An entertaining premiere, yes, but there may be a finite number of laughs to be had over those wacky hippies and the cold-hearted WASPs. [24 Sept 1997, p.C6]
    • Boston Globe
  3. Despite the blood and the labor, Call the Midwife is filled with heart.
  4. Either executives did a lot of soul-searching and decided to change nothing, or they let the show go on without thinking at all. Either way, they made the right move.
  5. As with most HBO series, "Curb Your Enthusiasm" isn't for everyone. Prerequisites include not only a desire for more of the best of "Seinfeld" but a willingness to go along with David's Brooklyn-bred grumpiness. [13 Oct 2000]
    • Boston Globe
  6. Olyphant creates a sense of suspended time whenever Raylan comes into contact with thugs--as if a gun standoff isn't so far from standing at a bar with a drink in hand. His Raylan is the kind of guy who doesn't say much, but gives us plenty to talk about.
  7. HBO's Generation Kill is remarkable.
  8. It also showcases Milch's taste for complexity when it comes to both the criminal mind and the lawman's motivations. [19 Mar 2004, p.D1]
    • Boston Globe
  9. The only objection to this well-made comedy is overfamiliarity. [10 Mar 1997, p.C10]
    • Boston Globe
  10. This one could take off, especially if the humor doesn’t obscure the layers of Jane’s moral journey.
  11. Written by Gwyneth Hughes, the script perhaps reaches too far and falls short. The whole is somehow less than the sum of its parts. And yet Five Days rewards with enough gripping moments to make it worth investigating.
  12. The first few episodes available for review feature several moments--callbacks, sight gags, and just plain funny jokes--that will likely feel like rewards to longtime viewers. But Community has also always been plagued by low ratings, and that is unlikely to change now given that some of those rewards probably won’t resonate with newcomers giving the show a try at the urging of those already on board.
  13. The cinematography is beautiful, and there seems to be nowhere around the Big Apple's tents and trailers that the camera won't go. There's just not much in the way of drama here.
  14. The Ghost Army can feel a bit padded at times. Like one of those rubber tanks, it’s not as imposing as it seems. But also like those tanks, it’s memorable and not quite like anything else.
  15. The show is a grim spectacle, and juicy bait for end-of-the-world addicts such as myself. But the living people in The Walking Dead, those uninfected with the mysterious virus, they are far less compelling.
  16. Ultimately, though, even with the fantasy, Game of Thrones feels like a historical medieval saga. It's a royal, and royally good, round of musical chairs.
  17. Orange Is the New Black is a funny, dramatically sound, poignant, and thoroughly addictive adventure through a bleak looking glass.
  18. 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.
  19. Unique, fresh, and quite entertaining. [1 Oct 2004]
    • Boston Globe
  20. The shamelessness of Nip/Tuck returns intact, which is a good thing.
    • 79 Metascore
    • 75 Critic Score
    It's a deliciously post-modern and surreal sitcom that succeeds both on a silly and an intellectual level. [2 Oct 2001, p.46]
    • Boston Globe
  21. It works largely because his victims are the ones doing the work, offering body language clues, lapping up subliminal messages, and proving their capacity for distraction.
  22. It never quite dazzles, even as it impresses, and it misses some of Austen's ironic turns. But this is certainly a worthy adaptation, summoning all that is enduring about Austen.
  23. The show, as fast-paced as ever, is crammed with subplots this season, some of which will be more engaging than others.
  24. Mr. Dynamite isn’t hagiography, and we hear enough about Brown’s personal flaws to make him quite human.
  25. Much as I am compelled to watch "24," and admire its craft, I find that I can't take it seriously.
  26. The story of Patrick "Lights" Leary is engrossing from the first bell, with nicely developed plots and psychological twists that transcend the genre cliches of the boxing drama. And the acting is strong where it matters.
  27. 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
    • 79 Metascore
    • 70 Critic Score
    The show works much better when it gives us a glimpse into its distinctive milieu.
  28. The Hour is not "Breaking Bad" good, or "Mad Men" good, but it's close.

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