Boston Globe's Scores

For 1,477 reviews, this publication has graded:
  • 48% higher than the average critic
  • 3% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 4.8 points lower than other critics. (0-100 point scale)
Average TV Show review score: 62
Highest review score: 100 When They See Us
Lowest review score: 0 The Cool Kids: Season 1
Score distribution:
  1. Mixed: 0 out of 780
  2. Negative: 0 out of 780
780 tv reviews
  1. “Quiz” is a thought-provoking and entertaining miniseries, even if it peters out a bit close to the end.
  2. There is very little in this comedy that will call forth smirks, never mind laughs — and that’s saying a lot, given the talent involved in the first 10-episode season.
  3. “Love Life” has its mild virtues for rom-com addicts who enjoy a good meet-cute every now and again. But the anthology show, starring and executive produced by Anna Kendrick, trades in tropes that are as overused on TV as the word “tropes” is in TV criticism. ... The flatness of the plot turns, many of which recall the less sexual arcs in “Sex and the City,” is compensated, to some degree, by the characters and the actors surrounding Darby.
  4. Reality is rarely as funny as this sparkling period satire. ... Throughout, I sensed Fanning — along with the rest of the cast — savoring McNamara’s brilliant script, with its carefully arranged layers of intention and its divine insults.
  5. The best parts of the show are its unending reveals and the ways the characters dodge disaster. Oh, and the dead bodies, too. ... Ultimately, the show is a comedy, after all. Cardellini is especially good this season, as we learn more about how Jen came about her extremely mellow demeanor. And Applegate is funny, as she was last season, as she curses, breaks down, and swigs wine with a vengeance, all while her world continues to fall apart.
  6. In short, the atmosphere of the series is transporting, and the toggling between French (with subtitles) and English, and images of the less-than-glamorous parts of France we don’t generally see on scripted TV, add nicely to the exoticism. But the story line imposed onto the setting is awfully stale, as familiar as the ambience is not.
  7. When Thomas goes on his paranoid rants, it’s hauntingly effective. And when the two Ruffalos appear together in a scene, it’s remarkably natural. ... But “I Know This Much Is True” misses the mark in terms of storytelling. It just sits there, a roiling mass of misery that fails to provide you with a compelling reason to keep watching.
  8. The “Billions” characters are morally fluid, and they are entertaining and willing to froth at the mouth for some good dramatic action, and that’s that. This season, the relationship between Chuck and Axe has shifted once again, and there are two promising guest stars — Corey Stoll and Julianna Margulies. I’m ready for it.
  9. Even though their characters are poorly written, a few of the performers do manage to help matters with their energy and command. LuPone is never not fun to watch, Joe Mantello is beautifully restrained as a gay producer, and Holland Taylor is moving as a lonely casting director.
  10. “Upload” is very much its own thing, and a good thing at that. ... I marveled at the way Daniels has set up the world of 2033. It’s hard enough to create an earthbound sitcom premise that’s sturdy and distinct, but Daniels has done that while toggling among a number of different realities.
  11. It’s a beautifully done series about love, sex, and class in Ireland that features a pair of indelible lead performances, by Daisy Edgar-Jones as Marianne and newcomer Paul Mescal as Connell. ... Occasionally, the story line gets murky; you may forget exactly where the lovers are on their journey, and you may begin to resent all their nebulous feelings — feelings that work better in writing than on the screen. I suspect eight episodes might have been a better length. But the acting will keep you engaged nevertheless, as these two souls struggle for communion.
  12. Excellent. ... There are a lot of plots in “Mrs. America.” ... But they’re woven together organically, unfolding with the same grace of the phenomenal cast.
  13. “Defending Jacob” is gripping enough in its own way, despite some of the familiar moves, and the acting is consistently fine.
  14. In some ways, “#BlackAF” is fun. Barris ably creates an alter ego, like David, Marc Maron, Chris Isaak, and Kirstie Alley before him, and he improves with each episode. ... One of the persistent negatives is the lack of arcs, both in terms of story and character.
  15. “Belgravia” is gorgeously appointed, it’s romantic enough, it’s grounded in the manners of a far more delicate time when everyone stood six-feet apart lest they bump hands, and it does what Fellowes’s “Downton Abbey” did, in a deeper and more engaging way, as it explores the differences between the entitlement of old money and the scrappier personalities of new money.
  16. It’s an ambitious and broad look at the onslaught of war and the ugliness — as well as the occasional heroism, but mostly the ugliness — that it ushered in.
  17. The dramas that play out range from the brutal to the more purely psychological, and all of them are compelling, not least of all thanks to the lead actresses’ stunning performances.
  18. “Feel Good” is wonderfully complex emotionally.
  19. An intense new six-part miniseries from David Simon and Ed Burns of “The Wire” that airs on Monday nights. I can’t remember seeing a period drama — it’s set from 1940 to 1942 — that speaks so directly and specifically to the present moment. ... “The Plot Against America” is indelible piece of work about how politics reaches into personal lives.
  20. “Devs” is a cerebral pleasure that gets very philosophical and presses its brainy atmosphere with lots of ponderous soundtrack music and deadpan acting.
  21. They deal with predictable domestic disasters, some of them feebly constructed, but the British realism makes it all feel less sitcomy and manipulative than other shows of its ilk. One of the best treats is the relationship between Paul and Ally.
  22. Watching the first four episodes of “Dispatches From Elsewhere” is akin to jumping into the middle of “Lost” without a clue. ... And yet I was not bored or frustrated as the characters’ dreams became real, as their memories became open to alterations, as backstories were told in animation. Almost miraculously, “Dispatches” is oblique, but not off-putting.
  23. Created by David Weil and executive produced by Jordan Peele, the show is audacious, tonally complex, not always in control of its message, visually arresting, and, particularly in its grim flashbacks to the brutalities and the courage in the death camps, moving.
  24. On the one hand, it runs on corny plots and network rom-com clichés, which is irksome and disappointing. On the other hand, there’s sweet and lively entertainment to be found in the regular musical sequences, which play like pieces of a jukebox musical, the jukebox being filled with pop songs by the likes of Cyndi Lauper and Van Morrison.
  25. It’s a slow-growing pleasure that does justice to them bones. ... After the rocky first half of the season, Kravitz becomes a fine lead, with a winning mixture of hipness, sadness, and loyalty. She is a woman who can be a creep — but because she knows it, she radiates the possibility that she can change. Chill, quietly charismatic, she ultimately makes for a great hang.
  26. Falco is just fine in the show, using touches of dry humor to charm even while we understand that Tommy is a flawed person. But, sadly, despite her chops, Falco is not asked to do a lot in the script except exude principles and rock a police uniform.
  27. Is in league with some of TV’s best. It’s a smart, energetic series that contains what may be the most important element in a successful comedy: an alchemical ensemble of characters, each one as curious and distinct as the next.
  28. It’s not good. ... “Indebted” feels more like the typical tossed-off network sitcom, with roars of laughter greeting each machine gun spray of bad jokes. The cast members don’t seem particularly inspired, including Pally.
  29. Ultimately, the show is Awkwafina’s baby all the way, as she brings her own fearless twists to the slacker genre. She has the chops to anchor a series, and the wisdom to let other performers steal scenes.
  30. The show threatens to become unwieldy at certain points, as Iannucci tries to keep all the many characters — and their secrets — in the mix while establishing the world of the future and moving the story line forward. But then “Veep” took a little while to come together, and I have faith in Iannucci’s guiding hand.

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