Boston Herald's Scores

  • TV
For 569 reviews, this publication has graded:
  • 54% higher than the average critic
  • 3% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 1.5 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 The Office (UK): Season 2
Lowest review score: 0 Brooklyn 11223: Season 1
Score distribution:
  1. Mixed: 0 out of 296
  2. Negative: 0 out of 296
296 tv reviews
  1. You may laugh, but you'll hate yourself afterward.
  2. Touch needs more work grounding its reality before any of these fantasies take flight.
  3. Your enjoyment of "Vengeance" ultimately hinges on how much you remember the betrayals and back-stabbings of the first season, "Spartacus: Blood and Sand."
  4. Even at approximately 80 minutes, director/producer Nancy Buirski's work could be tighter, but it's hard to imagine a more appropriate documentary for Valentine's Day.
  5. Judd, who serves as series co-executive producer, makes for a surprisingly convincing action hero. It's when she stops to emote in full mommy mode that the show drags.
  6. Punk'd seems to have a budget to rival a commercial network show, and the twist of rotating hosts--upcoming stars include "Twilight" actor Kellan Lutz and "Glee's" Heather Morris--whips up a new level of paranoia.
  7. Game of Thrones starts less like an epic and more like a session of "Medieval Sims."
  8. In its personal vignettes, Weight illuminates, but too often the segments are a numbing array of statistics from well-meaning talking heads.
  9. What separates this cast from just about every other real-ity show is that these people are chasing something larger than themselves, more vital to them than fame or money--that brief moment of perfection onstage, achieved after years of study and practice.
  10. Bunheads has the potential to have that cross-generational appeal. To thrive, the series must find its own tune to dance to.
  11. Count on Hit & Miss to find its targets.
  12. After some demented inspiration from Jesse (Aaron Paul), Walt launches a caper so audacious, it's almost comical.
  13. Photographer and filmmaker Timothy Greenfield-Sanders accessorizes his picture with some vintage clips, but his Face could do with fewer mouths.
  14. Perry proves to be adept at both the mirth and misery required by the role. Viewers, however, may be put off by a series that seems stuck like its patients in a gray zone between laughing and mourning.
  15. Once the story finds its pulse, Coma is fun, but there are a few hiccups.
  16. Go beyond the in-your-face, outrageous title here, and you'll find a somewhat sweet show struggling to create some real laughs.
  17. It's never a good sign when the main character is the least interesting player on the block. Fortunately, Empire's cast is rich enough for you to overlook that flaw.
  18. Unlike other period dramas, notably AMC's "Mad Men" and Starz's "Magic City," Vegas doesn't cram the hour with topical references. Here, they're more subtle and jarring.
  19. While the premise is slight, smart casting gives Ben and Kate a comedic edge.
  20. Elementary turns the myth into CBS' answer to "Castle," with a shade more intelligence.
  21. There's pleasure in seeing such talented actresses bounce off each other. Woodard could probably recite Google search links and would still turn in an Emmy-caliber performance. But these flowers never fully bloom.
  22. At times, the show careens from black humor to near tragedy and then back again.
    • 74 Metascore
    • 67 Critic Score
    It's a shame--but not a surprise, perhaps--that directors Fenton Bailey and Randy Barbato don't delve deeper.
  23. Plotting is not Fellowes' strength, but Downton's appeal is visual.
  24. In its best moments, the drama has the grit of something more likely to be found on cable channel TNT.
  25. A&E reboots the legend of Alfred Hitchcock’s “Psycho,” but Bates Motel plays like a slow-burning riff on David Lynch’s “Twin Peaks” sparked by some fascinating, nuanced performances.
  26. The settings never seem authentic for the Big Apple, and accents veer like partygoers after last call.... Still, Maslany shows skill in her many alternate guises, and the show has a dark sense of humor.
  27. This nebulous look at the blurry line between crime and the law is already being done better on FX's "The Shield." That series...is instantly more approachable and arresting. In The Wire, the characters' hazy morality is so ill-defined and sketchy that it's hard to care about them. West is a compelling lead, but his purpose and motivation aren't clear. He's a tough sell as the show's main protagonist. [1 June 2002, p.23]
  28. The Big C doesn’t traffic in miracles, but it does deliver small pleasures worth pondering and savoring.
    • 70 Metascore
    • 67 Critic Score
    It's as though Levinson and Fontana decided to throw everything onscreen that they're not allowed to show on broadcast television. But pushing the boundaries doesn't make Oz better or more realistic than "Homicide." If anything, it infringes on the storytelling. It's one thing to shock viewers for the sake of drama, quite another to frighten them into worrying about what visual affront to their senses will pop up next...If you can get past all that, Oz does tell some intensely interesting tales about life in a modern maximum-security prison, stories vastly different from the ones used in the average prison movie or cop show. [11 July 1997, p.47]