Boston Herald's Scores

  • TV
For 754 reviews, this publication has graded:
  • 55% higher than the average critic
  • 3% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 0.8 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 The Office (UK): Season 3
Lowest review score: 0 One Tree Hill: Season 1
Score distribution:
  1. Mixed: 0 out of 404
  2. Negative: 0 out of 404
404 tv reviews
  1. The premiere drops enough intriguing hints about the players' pasts without distracting from the main plot. You can't have a team without conflict, and every character seems to carry a quirk that rubs the others the wrong way.
  2. Lifetime's latest ripped-from-the-headlines biopic, about alleged wife-killer Drew Peterson, is salacious, sinister and downright sleazy. It's also as irresistible as a piping hot box of Dunkin' Donuts munchkins.
  3. "The Chronicle" seems to want to have as much fun with its stories as its viewers. [12 Jul 2001]
    • Boston Herald
  4. Bell, who started out as a child actor, has matured into a compelling leading man and he seems capable of conveying Abraham’s troubling journey into the underbelly of the war effort.
  5. Less perverse than ``I, Claudius,'' more entertaining than ABC's toga twister ``Empire,'' Rome gets off to an uneven start. [25 Aug 2005, p.47]
    • Boston Herald
  6. Not much is different for the fourth season of FX’s most popular comedy, except possibly an uptick in the production budget and guests.
  7. No one expects "The Good Wife," but if the show is aiming for balance, it needs to step up its court game.
  8. Resurrection does something few dramas do today — it gives its characters breathing room to absorb and react to the fantastic in their lives, rather than forcing them to run from one plot point to another. Some will find this pace too leisurely.
  9. There doesn’t seem to be any trickery here, no video sleight-of-hand. Goodwin is upfront in his methods.
    • 60 Metascore
    • 75 Critic Score
    It makes for good TV. [21 Feb 2003, p.S35]
    • Boston Herald
  10. [A] gripping premiere. [28 Oct 2003]
    • Boston Herald
    • 75 Metascore
    • 75 Critic Score
    The show's concept is clever, and the pilot displays a blend of humor and drama with a bit of melancholy hanging over it. Shalhoub is excellent as the twitchy, mild-mannered Monk. But Monk can be an annoying character, and at times you may find yourself wanting to yell, "Snap out of it!" at the television screen. [12 July 2002, p.S36]
    • Boston Herald
  11. More accessible than “V” or “FlashForward,” “Happy Town” shows a sure hand with pacing and knows how to end an hour with a powerful cliffhanger.
  12. The dialogue is as arch as Desperate in its heyday.
  13. A momentary lapse could lead to weeks of thought-provoking drama. The Slap echoes.
  14. Extant plays with genres, mixing sci-fi, conspiracy thriller and scenes from a struggling marriage. It also asks some daring questions about the collision of machine and humanity.
  15. There's something bizarrely addictive about The Hasselhoffs.
  16. The casting directors have found edgier contestants (one admits he’s only there because he has a gambling problem). Host Dolph Lund­gren alternately rags on the contestants or riffs.
  17. The cast mines genuine heartache in the mysterious.
  18. The new Netflix drama is burdened with so much annoying voice-over narration, the series at times falls somewhere between an audiobook and one of the more grittier Investigation Discovery crime shows. This dramatization of the rise of Pablo Escobar into the most notorious and lethal drug kingpin of South America is nonetheless compelling, and the story moves briskly, making it a great bingeworthy treat.
  19. Arquette is a cool presence onscreen and brings understated conviction to a character whose powers­ of observation border on superhuman.
  20. This show is a bit too easy, given that its source material has become a parody of itself. For those who have grown sick of the Bravo formula squabbling, these antics may be a tonic.
  21. If you loved this show for its split-second pop culture spoofs and absurd, sometimes sophomoric humor, then you'll be happy with the new, unimproved 'Guy.' [1 May 2005]
    • Boston Herald
  22. Many of his tricks here are explained, and the means of execution may only increase your appreciation for his genius. Less convincing is the miniseries’ speculation that the British intelligence agency MI-5 recruited him to act as a spy in the run-up to World War I.
  23. The first episode teases an exciting dynamic, with the possibility of forcing viewers to root for one monster over another.
    • 80 Metascore
    • 70 Critic Score
    This "Cheers" spinoff has a winking cleverness about it. The writing is snappy and Kelsey Grammer, who plays a radio shrink, is unexpectedly charming. If I was in major couch-potato mode after "Seinfeld," I wouldn't turn it off. [17 Sept 1993, p.47]
    • Boston Herald
  24. 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.
  25. More a cotton candy bouquet than a documentary, It’s Me, Hilary: The Man Who Drew Eloise introduces you to a man who has made millions of people happy--and would like nothing more than a chance to do it again.
  26. Mob City takes its time to lock and load, but its aim ultimately improves.
    • 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]
    • Boston Herald

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