For 919 reviews, this critic has graded:
  • 50% higher than the average critic
  • 4% same as the average critic
  • 46% lower than the average critic
On average, this critic grades 2.9 points lower than other critics. (0-100 point scale)

Matt Roush's Scores

Average review score: 62
Highest review score: 100 Spin City: Season 1
Lowest review score: 0 October Road: Season 1
Score distribution:
919 tv reviews
    • 34 Metascore
    • 37 Matt Roush
    Jon Lovitz, reprising his hilarious sharp-tongued scout from the movie, has the right idea. He won't be back next week. [12 Apr 1993, p.3D]
    • USA Today
    • 50 Metascore
    • 37 Matt Roush
    Say what literary critics will about John Grisham's best sellers, they're not dull. And dull is about the best you can say of the series derived from John Grisham's The Client. [15 Sept 1995, p.3D]
    • USA Today
    • 52 Metascore
    • 37 Matt Roush
    What USA Network's adaptation lacks in star power (and does it ever) it tries to overcompensate for in atmosphere -- the same humid texture of New Orleans smells, tastes and music as in the 1987 film. But there's such a thing as laying it on too thick. The Big Easy gags on its local color. [9 Aug 1996, p.3D]
    • USA Today
    • 34 Metascore
    • 30 Matt Roush
    Bad enough that dark-haired Sandra Bullock lacks the fuzzy but tough quirkiness of Melanie Griffith's Tess. And that Nana Visitor's boss lady, a two-faced Yalie named Bryn, has none of the swagger and venomous sting of Sigourney Weaver's comic caricature...But to make matters worse, by the end of the opener these two now- conventional gals are more allies than adversaries. [16 Apr 1990, p.3D]
    • USA Today
    • 71 Metascore
    • 30 Matt Roush
    Bores by being relentlessly glum.
    • 51 Metascore
    • 30 Matt Roush
    Heist is a tiresome mess.
    • TV Guide
    • 28 Metascore
    • 30 Matt Roush
    [A] colorless angstfest.
    • 41 Metascore
    • 30 Matt Roush
    Like a sunnier version of thirtysomething, lacking only the inspired casting, the insightful writing and the wrenching realism.
    • 40 Metascore
    • 30 Matt Roush
    [A] generic dud.
    • TV Guide
    • 42 Metascore
    • 30 Matt Roush
    It's partially improvised, which comes off looking like they're having more fun than we are.
    • 48 Metascore
    • 30 Matt Roush
    Downbeat and earnestly preachy about community and survival, this weird show is further hampered by glum Skeet Ulrich’s miscasting as the all-purpose prodigal hero.
    • 28 Metascore
    • 30 Matt Roush
    Rules would be more engaging if it weren't so familiar, but there is at least one consistently hilarious performance: Patrick Warburton.
    • 45 Metascore
    • 30 Matt Roush
    Overwritten and underacted (by the kids anyway), it strings out its weekly climactic shockers — some of them truly unnerving — with artery-hardening blobs of moldy adolescent whining.
    • 64 Metascore
    • 30 Matt Roush
    Silverman reminds us how quickly the novelty can wear off while watching a pixie with a potty mouth.
    • 35 Metascore
    • 30 Matt Roush
    All together now: "I don't!"
    • 68 Metascore
    • 30 Matt Roush
    I find The Riches emotionally flat, borderline pretentious and (metaphor acknowledged) dramatically phony.
    • 50 Metascore
    • 30 Matt Roush
    Welcome to the Captain, a tepid comedy about would-be wackos in a Hollywood apartment building, is such a dud that it's likely to only make some of us miss the funnier "Big Bang Theory" (which it temporarily replaces) even more.
    • 29 Metascore
    • 30 Matt Roush
    Even without a death slot on Fridays, this strained story would be a tough sell.
    • 36 Metascore
    • 30 Matt Roush
    More attention [is] paid to recreating the glam disco milieu than to developing character.
    • 48 Metascore
    • 30 Matt Roush
    This shockingly ordinary new legal drama from Steven Bochco should seem right at home amid TNT’s ubiquitous Law & Order reruns. It feels like something you’ve seen before, maybe from way back when L&O was new.
    • 50 Metascore
    • 30 Matt Roush
    It’s not that The Vampire Diaries is a truly terrible show. It’s just so insipid and uninspired.
    • 42 Metascore
    • 30 Matt Roush
    Past Life is so glum, lugubrious and blandly cast I felt I had temporarily regressed into someone who in a past life hated television.
    • 51 Metascore
    • 30 Matt Roush
    It could as easily be Sesame Street as Brewster Place, the way everyone has become so doggone lovable and earnest in this transformation from dark- edged 1989 miniseries to sunny weekly half-hour drama. [1 May 1990]
    • USA Today
    • 45 Metascore
    • 30 Matt Roush
    This lightweight medical drama still needs serious script surgery.
    • 57 Metascore
    • 30 Matt Roush
    This charmless and laugh-free dud yearns to be bold as it constructs an odd relationship between a young widower (Ivan Sergei) and a moody cosmetics clerk (Krysten Ritter).
    • 53 Metascore
    • 30 Matt Roush
    It's not only the trash that's stinking on Melissa & Joey.
    • 51 Metascore
    • 30 Matt Roush
    This show does not bring it on.
    • 42 Metascore
    • 30 Matt Roush
    The mock-retro sitcom Big Lake, which boasts big-name producers (Will Ferrell, Adam McKay and Chris Henchy, whose The Other Guys is currently in theaters) but little in the way of actual comedy.
    • 54 Metascore
    • 30 Matt Roush
    Even the people who matter to him most are sketchily drawn, while others are almost laughable caricatures, including a friend's saucy cheating wife, purred by Kim Cattrall.
    • 44 Metascore
    • 30 Matt Roush
    If you have the misfortune of meeting their tiresome friends, you'll sympathize with them. And I can't imagine anyone wanting to come back for more.
    • 43 Metascore
    • 30 Matt Roush
    Talky and grim, and more than a little bland, Outcasts almost entirely lacks humor, wonder and engaging characters.
    • 52 Metascore
    • 30 Matt Roush
    Weirdly, both the pilots of Breaking In and Comedy Central's execrable new time-waster Workaholics include multiple references to urine.
    • 43 Metascore
    • 30 Matt Roush
    Watching Hart of Dixie is like mainlining praline. Your mind will rot before your teeth do.
    • 41 Metascore
    • 30 Matt Roush
    It couldn't be more forgettable, but what's really irksome is the waste of a strong supporting cast.
    • 51 Metascore
    • 30 Matt Roush
    An unpleasant show about miserable people working in an environment (corporate public relations) that's about as welcoming as Chernobyl.
    • 48 Metascore
    • 30 Matt Roush
    Relying heavily on sex talk and slapstick, Whitney is the kind of show where less funny people surround the star, always commenting on her zany actions.
    • 36 Metascore
    • 30 Matt Roush
    A charmless buddy comedy where three tiresome stooges question their embattled masculinity.
    • 49 Metascore
    • 30 Matt Roush
    The Exes feels like a stale Frankenstein sitcom cobbled together with spare parts--by which we mean veteran actors--who made their names on better shows.
    • 46 Metascore
    • 30 Matt Roush
    With a look recalling the glories of King of the Hill, but no discernible point of view or comic fuse of its own, Dynamite is a dud.
    • 54 Metascore
    • 30 Matt Roush
    [A] toothless hourlong teen-com.
    • 52 Metascore
    • 30 Matt Roush
    It feels the opposite of relevant and fresh.
    • 57 Metascore
    • 30 Matt Roush
    NYC 22 isn't even trying. It's not too too, it's too little.
    • 56 Metascore
    • 30 Matt Roush
    If the show were as exciting as it is improbable, Missing could qualify as a guilty pleasure. All it's missing are a few crucial ingredients: originality and intelligence.
    • 56 Metascore
    • 30 Matt Roush
    The writing telegraphs every trite and derivative twist, whether violent or sexual or some combination of the two to remind us this is pay cable and not some musty rerun.
    • 36 Metascore
    • 30 Matt Roush
    This spinoff of Jersey Shore has possibly even less substance, as the high-haired DJ from Rhode Island gets a residency gig at a Las Vegas casino, and brings his motley crew of homeboys with him to marvel at their swank new digs.
    • 36 Metascore
    • 30 Matt Roush
    Men at Work is junk of the most disposable nature, a sex-obsessed comedy set at a phony-even-by-sitcom-standards magazine.
    • 41 Metascore
    • 30 Matt Roush
    Unfortunately, there are few shows this season worse or more grating than tonight's Malibu Country, where the beachfront corn grows awfully and annoyingly high.
    • 48 Metascore
    • 30 Matt Roush
    Crystal (previously seen in the Night at the Museum movies, the second Hangover film and a memorable cameo on Community) steals what little show there is here.
    • 64 Metascore
    • 30 Matt Roush
    There is exactly one interesting storyline.
    • 60 Metascore
    • 30 Matt Roush
    A trite and drab melodrama about women on the WWII homefront who go to work on the dangerous front lines of a munitions factory, assembling bombs that aren't nearly as lethal as the corny dialogue and the comically stilted performances.
    • 38 Metascore
    • 30 Matt Roush
    This buddy sitcom feels contrived, derivative (instead of Megan Mullally, we get a stereotyped sassy and buxom Latina secretary) and sadly lacking in essential chemistry.
    • 49 Metascore
    • 30 Matt Roush
    Chicago Fire isn't half bad when the fires and other crises take over as the star of the show. It's after the smoke clears and the stories kick back in that you begin to realize the only way to salvage these sorry stereotypes in uniform is to burn them the only way we know how.
    • 51 Metascore
    • 30 Matt Roush
    You've heard of open-and-shut cases. Motive is more like open and yawn.
    • 45 Metascore
    • 30 Matt Roush
    One thing I'll say for these friends: They could all use better writing.
    • 46 Metascore
    • 30 Matt Roush
    Reckles is merely witless, akin to a trashy and disposable beach read that should come with its own sunscreen--or perhaps a wet bar to distract us from the cheesy plotting and cardboard acting.
    • 43 Metascore
    • 30 Matt Roush
    This shrill parable of redemption, being burned off in back-to-back episodes, is like a spiritual Enlightened for the tone deaf.
    • 43 Metascore
    • 30 Matt Roush
    This isn't so much a comeback as a case of go away and try again.
    • 44 Metascore
    • 30 Matt Roush
    [Ironside's] handicap has nothing to do with a wheelchair but with a preposterous attitude that's in your face and laughably over-the-top. When the show isn't being a thuddingly ordinary procedural, it's mawkish, wasting The Killing's Brent Sexton as Ironside's shattered partner--yes, an emotional cripple.
    • 54 Metascore
    • 30 Matt Roush
    When you have talent like Adam Scott (John Wilkes Booth), Bob Odenkirk (Nixon) and Jack Black (Elvis) on hand, why not let them improv their own material? They're wasted as puppets trapped in this sad, thin vaudeville.
    • 52 Metascore
    • 30 Matt Roush
    [A] turgid and convoluted pilot.
    • 49 Metascore
    • 30 Matt Roush
    Lucky 7 fails to loosen up these sentimentalized working stiffs into anything resembling fully rounded characters, and wish fulfillment soon turned into a wish that I was watching something else.
    • 50 Metascore
    • 30 Matt Roush
    This subculture specializes in the "three T's": teleportation, telepathy, telekinesis. They forgot "tired," "tepid" and "too too derivative," which much better describes the experience of meeting these lost kids.
    • 40 Metascore
    • 30 Matt Roush
    It's a painfully obvious shtick, so camp and arch it's impossible to enjoy the joke.
    • 48 Metascore
    • 30 Matt Roush
    Sadly, Kirstie is all about cheese, including the moldy hook of the show's gimmicky premise.
    • 73 Metascore
    • 30 Matt Roush
    The pilot episode involves an endless debate over a mysterious "fecal deposit" left on a chair. Let that be a metaphor.
    • 49 Metascore
    • 30 Matt Roush
    I'm not quite sure why this needed to be remade, but Lifetime's curiously inert adaptation of V.C. Andrews' twisted Gothic Flowers in the Attic at least gives Ellen Burstyn the opportunity to display her florid take on a classic Nurse Ratched/Baby Jane psycho character
    • 55 Metascore
    • 30 Matt Roush
    An utterly pedestrian docudrama that never lives up to its campy billing.
    • 50 Metascore
    • 30 Matt Roush
    Star-Crossed lacks humor, suspense or even heat.
    • 44 Metascore
    • 30 Matt Roush
    ABC hits a new low with Mind Games, an inexplicably and ridiculously convoluted drama which achieves the rare trick of making Christian Slater look like a master of understated acting.
    • 54 Metascore
    • 30 Matt Roush
    Lacking the nutritious value of originality, we're left with Catherine's mantra about her prey: "You have to be worse than they are." It doesn't get much worse than Those Who Kill.
    • 49 Metascore
    • 30 Matt Roush
    Welcome to Early American Horror Story, which could give you whiplash from all the clashing acting styles, from Seth Gabel's foaming-at-the-mouth over-emoting as zealot Cotton Mather to Shane West's monotonously mumbling and too-modern hero John Alden.
    • 51 Metascore
    • 30 Matt Roush
    Graynor is so obviously vulgar a man-eater that there's no charm to her bawdy smarm. The stereotypes surrounding her (David Alan Grier as the gullible soft-touch principal, Sara Gilbert as a desperately nerdy teacher and Kristin Davis as her prim nemesis) are little help.
    • 51 Metascore
    • 30 Matt Roush
    Roman and Margaux Castavet (scene-stealing Jason Isaacs and Carole Bouquet, the best reasons to tune in). Closer in tone to ABC's failed 666 Park Avenue homage than to Roman Polanski's still-haunting 1968 adaptation, this Baby isn't likely to keep you at night.
    • 63 Metascore
    • 30 Matt Roush
    There are some giggles here and there.... But mostly, Vicious is a creepy, in style and attitude, retro serving of tea and hostility that's unworthy of the talents on board.
    • 54 Metascore
    • 30 Matt Roush
    Some ambitious but flawed dramas get better the more you watch. Tyrant is not one of them. The plotting is obvious, the characters broadly and shallowly drawn, and authenticity evaporates the moment you realize everyone in this land is speaking in clipped Faux-rabian British accents like out of some '40s melodrama.
    • 45 Metascore
    • 30 Matt Roush
    The ludicrous medical melodrama Rush is a reminder that, if you push the envelope too hard without the compensating virtues of wit or even an iota of humanity and realism, the impulse is to push back.
    • 47 Metascore
    • 30 Matt Roush
    A hopelessly murky and mind-numbing exercise in unrelieved portentousness bordering on wearying and opaque pretension.
    • 57 Metascore
    • 30 Matt Roush
    The stars' charisma could help lift Selfie beyond its narrow premise, but at first glance, it seems too inconsequential even to qualify as an epic fail.
    • 43 Metascore
    • 30 Matt Roush
    NBC's disappointingly derivative State of Affairs [is] a clumsy and unconvincing star vehicle for a miscast Katherine Heigl.
    • 48 Metascore
    • 30 Matt Roush
    While Z Nation (or as I prefer to think of it, The Running Dead) doesn't exactly play the gory low-budget mayhem for campy laughter, it's hard not to roll, or possibly cover, one's eyes at something this familiar and deeply shallow, with casting mostly so generic--with the exception of Lost's Harold Perrineau as a Delta Force soldier barking orders--that they're all so much chum in this kill-or-be-eaten apocalypse.
    • 38 Metascore
    • 20 Matt Roush
    He's also just not very funny. Smug monologues to the camera about how life is like volleyball or driving won't have you rolling, and his misadventures - of the high-tech, computer-hacking variety - are awfully predictable. [23 Aug 1990, p.3D]
    • USA Today
    • 64 Metascore
    • 20 Matt Roush
    Fails as documentary (too phony) and as entertainment (too dull). ... With its tilted cameras recording stilted reality, this empty vehicle for sound-bite narcissism is 20nothing.
    • USA Today
    • 53 Metascore
    • 20 Matt Roush
    Huff is stubbornly inert, going all over the place tonally while going nowhere emotionally.
    • 44 Metascore
    • 20 Matt Roush
    A far cry from Boston Legal or even The Practice, this is so clumsy in its mix of the procedural and the personal that it should barely be legal.
    • TV Guide
    • 33 Metascore
    • 20 Matt Roush
    It wants to be shockingly frank but is mostly dour and phony.
    • TV Guide
    • 39 Metascore
    • 20 Matt Roush
    Worth watching? First you’d have to stay awake.
    • TV Guide
    • 45 Metascore
    • 20 Matt Roush
    To say these guys are stereotypes does insult to the clichés they clumsily represent.
    • 60 Metascore
    • 20 Matt Roush
    The season's silliest new action-fantasy-adventure.
    • 40 Metascore
    • 20 Matt Roush
    Which "Sex and the City" knockoff is worse, ABC's "Cashmere Mafia" or NBC's Lipstick Jungle (based on Sex author Candace Bushnell's best-seller)? It really depends which one you're watching at the time. Both are simply dreadful, failing miserably at making their glamorously high-powered heroines sympathetic, credible or remotely interesting.
    • 38 Metascore
    • 20 Matt Roush
    Nearly everything feels stale in this sitcom.
    • 38 Metascore
    • 20 Matt Roush
    Painfully derivative.
    • 40 Metascore
    • 20 Matt Roush
    An embarrassing dud that's both trashy and self-pitying.
    • 58 Metascore
    • 20 Matt Roush
    An especially silly descent into incoherence.
    • 53 Metascore
    • 20 Matt Roush
    This exercise in tedium is better suited for its original home on the Internet, where it should have stayed.
    • 45 Metascore
    • 20 Matt Roush
    The culture-clash premise drowns in a sewer of offensive caricatures and lame jokes.
    • 33 Metascore
    • 20 Matt Roush
    It's pretty much impossible to care, since we've heard it all before, and it was funnier and fresher the first time around.
    • 35 Metascore
    • 20 Matt Roush
    The smarmy and incessant innuendo is more deafening than the laugh track, and yet no matter how low it stoops, it still lacks the zing and bite of Handler's cable antics.
    • 36 Metascore
    • 20 Matt Roush
    The writing is so trite that when the teens balk in an upcoming episode at the idea of a Family Night (to which the ever-present ex-husbands are invited), we share their despair.
    • 33 Metascore
    • 20 Matt Roush
    Sandra Brown's Ricochet is simply dreadful.
    • 57 Metascore
    • 20 Matt Roush
    I'm pretty sure there aren't drugs strong enough to get me to the bittersweet end of this series.

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