For 955 reviews, this critic has graded:
  • 50% higher than the average critic
  • 3% same as the average critic
  • 47% lower than the average critic
On average, this critic grades 3.1 points lower than other critics. (0-100 point scale)

Matt Roush's Scores

Average review score: 62
Highest review score: 100 Desperate Housewives: Season 5
Lowest review score: 0 Emily Owens, M.D.: Season 1
Score distribution:
955 tv reviews
    • 52 Metascore
    • 60 Matt Roush
    The action scenes are impressive, the cast admirably diverse (with Cliff Curtis especially strong as Ryan's demanding surrogate father), and the tone suitably rugged. All Gang Related needs to up the ante is a hero who's a little more "anti-."
    • 68 Metascore
    • 60 Matt Roush
    The final twists and reveals are inelegantly dramatized, but as TV, it's still a pretty fair page-turner.
    • 74 Metascore
    • 60 Matt Roush
    What feels so tightly focused and earned in Breaking Bad too often comes off as forced and unconvincing in the land of the soulful bikers.... Still, Sons has a propulsive allure as it dramatizes Jax's attempts to take the gang legit (though he still condones murder when it's convenient) while battle lines continue to be drawn between the show's ferociously impressive leading ladies.
    • 66 Metascore
    • 60 Matt Roush
    Uninspired but competently workmanlike. [4 Mar 1997]
    • USA Today
    • 62 Metascore
    • 60 Matt Roush
    A divertingly original but awfully precious comic fantasy.
    • 63 Metascore
    • 60 Matt Roush
    The first chapters are compelling enough, but after Hostages, it's hard not to be skeptical when we've just seen how quickly this sort of heightened situation can lapse into overheated nonsense.
    • 54 Metascore
    • 60 Matt Roush
    If NBC must use game shows as spackle to fill holes in its schedule, it could do worse. It already has.
    • 59 Metascore
    • 60 Matt Roush
    It's no fault of Bean's, who is riveting as he occasionally morphs into character before his colleagues' amazed eyes. The rest of the series could use a personality transplant.
    • 80 Metascore
    • 60 Matt Roush
    Like most other Cheers fans, it's impossible not to miss the gang back East. But given the disappointing season at hand, Frasier will do. [16 Sept 1993, p.1D]
    • USA Today
    • 62 Metascore
    • 60 Matt Roush
    The hot mess of American Horror Story is berserk to a fault, though it does have an unnerving originality compelling us to watch while we cringe, or perhaps smirk.
    • 55 Metascore
    • 60 Matt Roush
    Yes, there’s much that’s awful here, as there always was--some laughably bad acting, portentous flashbacks telegraphed so obviously you expect the screen to do one of those wiggly dissolves, writing that won’t cause Matthew Weiner (or his kids) any sleepless nights--and yet there’s an enjoyably lurid energy to this place that makes it only about 1,000 times more instantly watchable than last season’s dreary redo of 90210.
    • 62 Metascore
    • 60 Matt Roush
    Realizing that my pleas for viewers to seek out the original will only go so far, I'll say that after watching the first seven episodes of Gracepoint, it's worth a look. If it's your first look. Otherwise, perhaps not. It takes many episodes for the plot ever to diverge, and for the most part, any changes aren't for the better. (And that's especially true for most of the casting.)
    • 56 Metascore
    • 60 Matt Roush
    From the few episodes I've seen so far, Body of Proof is just ordinary enough to be a success. There's nothing in it you haven't seen several hundred times before: a blend of CSI science, Bones banter, Mentalist uncanny acuity, House haughtiness, Rizzoli & Isles eye candy.
    • 58 Metascore
    • 60 Matt Roush
    The fault in Red Band Society isn't in the stars, but in the over-writing.
    • 46 Metascore
    • 60 Matt Roush
    The sharp performances of the combative in-laws-to-be help sell the overdone situation.
    • 69 Metascore
    • 60 Matt Roush
    A perverse parable of envy and misfortune that loses some steam as it turns into a wacky but predictable revenge caper that you know can't end well.
    • 68 Metascore
    • 60 Matt Roush
    It's like Deadwood in togas, a violent and bawdy tapestry of a vanished civilization.
    • 64 Metascore
    • 60 Matt Roush
    The ever-present but unseen film crew adds a layer of patronizing self-consciousness to a series that is at its best when it relaxes into the slow rhythms of the Broad Hill nursing home, whose residents aren't nearly as hopeless and forlorn as they look.
    • 64 Metascore
    • 60 Matt Roush
    Substantive without being stuffy, workmanlike but something less than a wow, the show often seemed indistinguishable from his Nightly News gig, albeit with longer stories and more opportunity for in-studio banter.
    • 56 Metascore
    • 60 Matt Roush
    A proficient if initially perfunctory action thriller that benefits immeasurably from its star's gruff, bluff machismo.
    • 63 Metascore
    • 60 Matt Roush
    Miss/Guided is silly but sweet and would be more embraceable if it would drop the misguided (sorry) gimmick of having everyone deliver jokes right into the camera.
    • 68 Metascore
    • 60 Matt Roush
    Well-made, but heavy-handed and hardly inviting.
    • 54 Metascore
    • 60 Matt Roush
    Mel's eccentric independence is admirable and more often than not amusing--which isn't always the case for the show, which uses gentle but forced whimsy to deliver treacly life lessons from the perspective of preteen son Henry (Eli Baker).
    • 69 Metascore
    • 60 Matt Roush
    Some of the randy dialogue strains a bit too hard to be provocative ("My vagina is not dead, it was just in a coma"), but what's truly shocking is how harsh and unforgiving the domestic blow-ups can be, as Abby and Jake survey the wreckage of their life together. The best parts of Divorce are those that remind us how messy and panicky such a dissolution can be for all involved.
    • 56 Metascore
    • 60 Matt Roush
    [John Malkovich] makes this cartoonish romp a lot more fun than Starz's Black Sails--which admittedly isn't saying much.
    • 64 Metascore
    • 60 Matt Roush
    The difference between a Dave Barry column and Dave's World is roughly that between a backyard cookout and drive-through fast-food...Both go down all right, but one's more savory. [20 Sept 1993, p.3D]
    • USA Today
    • 54 Metascore
    • 60 Matt Roush
    This much more conventional biopic is a grittier, drabber journey from crime-spree joyride to high-stakes manhunt as their crimes and the ensuing fallout escalate in grim intensity.
    • 37 Metascore
    • 60 Matt Roush
    Think "Ally McCouric" in a bubbly slapstick trifle that plays like David E. Kelley lite: less offensive, also less original.
    • TV Guide
    • 48 Metascore
    • 60 Matt Roush
    It’s painfully derivative, but we’ve seen worse.
    • TV Guide
    • 62 Metascore
    • 60 Matt Roush
    The chats are amusing, quirky and strangely obsessed with monkeys (which, granted, is always a funny topic), but the illustrations tend to overemphasize the throwaway moments, draining them of spontaneity and often of their original humor.
    • 57 Metascore
    • 60 Matt Roush
    One thing's for sure: Raines is weird.
    • 63 Metascore
    • 60 Matt Roush
    The characters and situations may be different, but creator/executive producer Cherry's signature tone of arch cattiness leavened with sentimental schmaltz is unmistakable.
    • 59 Metascore
    • 60 Matt Roush
    My Boys can overdo the voiceover sports metaphors, but at least it's agreeable.
    • 53 Metascore
    • 60 Matt Roush
    Mostly overcomes its contrived premise and clichéd courtroom theatrics with well-played characters you might actually root for.
    • TV Guide
    • 71 Metascore
    • 60 Matt Roush
    Not quite as riveting as some of Tyra Banks' Top Model panels, but the prospect of Naomi getting in her rivals' faces to save her girls should entice the Bad Girls audience to give it a look.
    • 62 Metascore
    • 60 Matt Roush
    Banshee is a mangy mutt of a TV show and doesn't care if you know it.
    • 55 Metascore
    • 60 Matt Roush
    Handsomely produced, diversely cast, and fresh in its approach, A.D. deserves to be called inspired. [23 Mar - 5 Apr 2015, p.15]
    • TV Guide
    • 65 Metascore
    • 60 Matt Roush
    With most of The Closer's original crew staying on, it's almost business as usual--though with Sedgwick no longer at the center, replaced by Mary McDonnell's inscrutably smug and unsympathetic Capt. Sharon Raydor, the franchise can't help but be diminished.
    • 71 Metascore
    • 60 Matt Roush
    As a weekly series, this predictable but agreeable comedy-soap about spurned Hollywood wife Molly (Debra Messing, her neurotic sitcom mojo intact) is less heavy-handed than the starter miniseries.
    • 72 Metascore
    • 60 Matt Roush
    More of a curiosity than a necessity.
    • TV Guide
    • 78 Metascore
    • 60 Matt Roush
    Ultimately, this is an easier show to admire than it is to recommend.
    • 53 Metascore
    • 60 Matt Roush
    Even though many will find this brand of overripe melodrama as silly as the indelible "Death of Mary Queen of Scots" sketch from Monty Python's Flying Circus, I can't help but root a little for such a zany risk.
    • 69 Metascore
    • 60 Matt Roush
    This nearly six-hour adaptation is an over-indulgently languid showcase for Winslet to shine as the iconic and ultimate Mother Martyr.
    • 48 Metascore
    • 60 Matt Roush
    The lavishly produced, and reportedly mega-expensive, Marco Polo can be a feast for the eyes, even when the overripe dialogue ("Treachery grows well in the fertile soil of contempt I tilled") and uneven performances feel dramatically undernourished.
    • 62 Metascore
    • 60 Matt Roush
    The show almost lost me early on with a clumsy gag when Molly's workout routine is upstaged by mom and sis eating chocolate cake right in front of her. (Who would do that?) But it gets better from there, although the whole enterprise seems like a lot of empty (for now) calories.
    • 75 Metascore
    • 60 Matt Roush
    The plot is as stubbornly slow-burning as Hoffman's sharply reined-in performance and ultimately far less inspired.
    • 58 Metascore
    • 60 Matt Roush
    The episodes play out in a series of uneven vignettes: droll, ironic and twisted. It's great to see Kudrow back on TV, but this visually static and comically stunted gimmick wears thin pretty quickly.
    • 49 Metascore
    • 60 Matt Roush
    The skating is slow and rarely pretty, and it’s not live.
    • TV Guide
    • 55 Metascore
    • 60 Matt Roush
    The broad comedy in 1600 Penn derives from familiar sitcom clichés being magnified by the Oval Office fishbowl. It's a gimmick that may have trouble holding up to a second term, though the cast is certainly game.
    • 55 Metascore
    • 60 Matt Roush
    Though punishingly overlong and occasionally flat-footed, NBC's Thursday broadcast of Peter Pan Live! was another honorably ambitious and sporadically enjoyable attempt to bring the thrill of musical theater into America's living rooms.
    • 56 Metascore
    • 60 Matt Roush
    Making things more intriguing this time, Spartacus' main adversary as the series builds toward its final showdown isn't the usual sniveling, craven, oversexed patsy.
    • 51 Metascore
    • 60 Matt Roush
    On the glossy surface, it’s an earnestly predictable but impeccably produced soap opera. [13 Sep 2006]
    • 62 Metascore
    • 60 Matt Roush
    It's all a bit edgier than you might imagine, and I'll be giving this another look--though it's probably not going to keep me home on Fridays.
    • 57 Metascore
    • 60 Matt Roush
    At times, you might mistake Lifetime's enjoyably earnest Biblical epic The Red Tent for an Old Testament version of Call the Midwife.
    • 71 Metascore
    • 60 Matt Roush
    Caprica takes itself awfully seriously, with plenty of thematic integrity but not so much intensity. So far, it’s a bit dramatically anemic.
    • 64 Metascore
    • 60 Matt Roush
    Watching Jackie go back on the drugs, lying to her support group as well as her current better-than-she-deserves cop boyfriend Frank (Adam Ferrara), you can't help but get a dispiriting feeling of been-there, snorted-that. Bright spots include Emmy winner Merritt Wever as the irrepressible nurse Zoey.... and the arrival of the terrific Julie White.
    • 75 Metascore
    • 60 Matt Roush
    The satire is vicious, the behaviors of all parties reprehensible, which makes for a bracingly unsavory series but also one that's ultimately sour and predictable.
    • 56 Metascore
    • 60 Matt Roush
    The show is entertaining enough on the job that it doesn’t need so-called comic relief.
    • 46 Metascore
    • 60 Matt Roush
    In a season where all high schools look the same, with sun-drenched campuses trolled by smart-alecky know-it-alls, Beverly Hills, 90210 looks like yet another tired breath of smoggy, sunny California air...But beyond its stock characters - the freshman dweebs, the rich deb with a new nose job, the peripheral parents, the mousy scribe - there's a sweet sister-brother bond here, on a par with the better John Hughes youth- pandering flicks. [4 Oct 1990, p.3D]
    • USA Today
    • 61 Metascore
    • 60 Matt Roush
    The overstuffed pilot piles on a few too many weepy crises, many involving Adam’s young son (who may have Asperger’s syndrome), but the strong cast’s considerable charm breaks through.
    • 60 Metascore
    • 60 Matt Roush
    If you can get past the glorified and tiresome rumbles and taunts between the low-class ''greasers'' and their rich-kid rivals - the ''socs,'' pronounced ''sosh-es,'' a tribe of mostly blond pompadours - there's a sweet family drama being enacted by some unschooled heartthrobs-to-be. [23 Mar 1990, p.3D]
    • USA Today
    • 51 Metascore
    • 60 Matt Roush
    An entertaining mishmash that uneasily juggles jargony sci-fi theories with elements of military conspiracy, action-adventure, disaster movie and surreal psychological suspense.
    • TV Guide
    • 39 Metascore
    • 60 Matt Roush
    Cheerfully cheesy.
    • 64 Metascore
    • 60 Matt Roush
    There are worse ideas. And far worse shows this fall.
    • 69 Metascore
    • 60 Matt Roush
    Even when Freak Show collapses under its undiluted excess, it does remember at least one essential truth of terror: Nothing's scarier than a mean, ugly clown.
    • 23 Metascore
    • 60 Matt Roush
    The disaster-movie clichés pile up in 10.5 Apocalypse.
    • 54 Metascore
    • 58 Matt Roush
    Gravity may be weighted down by cliche, but it’s not without interest.
    • 65 Metascore
    • 50 Matt Roush
    An uneven yet at times emotionally engrossing series that hasn't quite figured out an appropriate or clear tone to dramatize this mystifying meditation on loss, sustained grief and tested, twisted faith.
    • 47 Metascore
    • 50 Matt Roush
    It's aggressively unambitious, with a sexual harassment story line having about as much impact as a new-roommate squabble over sharing peanut butter, but it's always easy on the eyes and never consequential to the intellect. [8 July 1992, p.1D]
    • USA Today
    • 60 Metascore
    • 50 Matt Roush
    In the end, this dreary British import proves that the only thing more boring than agitprop drama is someone else's agitprop drama.
    • 52 Metascore
    • 50 Matt Roush
    So far so generic, and I'll decide later once my ears stop ringing.
    • 50 Metascore
    • 50 Matt Roush
    A newspaper writer whose one-night-stand with a baby-faced young-un leads to predictable complications when she gets, you guessed it, knocked up.
    • 29 Metascore
    • 50 Matt Roush
    Timecop doesn't boggle the mind. It's merely a bog. You could write this adventure yourself. [22 Sept 1997, p.3D]
    • USA Today
    • 52 Metascore
    • 50 Matt Roush
    As fast-paced as it is preposterous.
    • 67 Metascore
    • 50 Matt Roush
    Taylor gives a forceful performance as a wronged wife who lapses into hallucinations during therapy sessions, but a bitter tone pervades most of the rest of the show.
    • 40 Metascore
    • 50 Matt Roush
    Like on House, we go inside the body, zooming from nerve endings to the mind's exotic landscape, where surreal images convey mystery maladies. If only 3 LBS were as provocative.
    • 67 Metascore
    • 50 Matt Roush
    Too much pretentious hooey about destiny obscures an unfocused saga of normal folks with odd powers.
    • 66 Metascore
    • 50 Matt Roush
    Their [Matthew Perry and Laura Benanti's] wary cat-and-mouse game doesn't exactly break new comic ground, but it temporarily lifts Go On from its jarring tonal shifts between mockery and mawkishness.
    • 51 Metascore
    • 50 Matt Roush
    This is what you'd get if Without a Trace somehow turned into a cartoonish conspiracy chase thriller.
    • 60 Metascore
    • 50 Matt Roush
    Sun aspires to the breadth if not the depth of The Wire. But it's so self-conscious in its existential misery, lacking the leavening humor and humanity of a modern classic like Breaking Bad, that it often feels more punishing than provocative.
    • tbd Metascore
    • 50 Matt Roush
    Revolution is too convoluted for its own good. Streamlining would have been a better option for a show being thrown to the Wednesday wolves.
    • 68 Metascore
    • 50 Matt Roush
    The action and whimsy help compensate for an overall flatness in the rest of the ensemble casting and low-budget production.
    • 61 Metascore
    • 50 Matt Roush
    True Detective has its moments as a character study. [22-28 Jun 2015, p.10]
    • TV Guide
    • 62 Metascore
    • 50 Matt Roush
    The mysteries of the mythology--Where were they for the last half-century? Who's pulling their violent strings?--are more compelling than the plodding mechanics of the weekly manhunt.
    • 61 Metascore
    • 50 Matt Roush
    The frantically violent mayhem, including a tasteless cannibalism gag, is paced swiftly enough that you can almost ignore the silliness of a show that isn’t above resurrecting characters long thought dead. Still, it beats last year’s miserable detour in a Panamanian sweatbox.
    • 73 Metascore
    • 50 Matt Roush
    Never as heightened or melodramatic as Queer as Folk (British and Showtime versions), Looking also isn't terribly distinctive and is only sporadically engaging.
    • 59 Metascore
    • 50 Matt Roush
    Legal is fairly banal, and its focus is often as fuzzy and vague as its by-the-numbers title. Thankfully, Shahi has more than enough personal charm and sex appeal to keep this vehicle afloat until it finds its own voice.
    • 52 Metascore
    • 50 Matt Roush
    When the music stopped, the sound of Underwood was underwhelming: drab, devoid of energy or passion, creating a vapid hole at the center of a charming and diverting production. Her chemistry with a similarly stiff Stephen Moyer, as an awkwardly gaunt Capt. Von Trapp, felt like wilted edelweiss.
    • 65 Metascore
    • 50 Matt Roush
    Smart fun.... But Report often feels like an overlong, overindulged sketch.
    • TV Guide
    • 49 Metascore
    • 50 Matt Roush
    This is Texas, y'all. And you may very well feel like you've been to this rodeo before.
    • 48 Metascore
    • 50 Matt Roush
    A good girl’s surprise pregnancy is a strong premise, but creator Brenda Hampton (7th Heaven) undercuts it by surrounding Amy with an uninspired ensemble of precociously cardboard classmates.
    • 58 Metascore
    • 50 Matt Roush
    [Graceland] is barely distinguishable from USA Network's long roster of crime capers featuring pretty people in gorgeous settings.
    • 58 Metascore
    • 50 Matt Roush
    The result is a mostly wan workplace sitcom hamstrung by the premise of yoking Williams to a wet-blanket daughter as business partner (Sarah Michelle Gellar, not exactly in her element). The co-star who really pops is James Wolk.
    • 61 Metascore
    • 50 Matt Roush
    So three cheers for Cristela and a shrug-and-a-half for Cristela, a harmless but so far forgettable addition to ABC's reconstituted mini-"TGIF" lineup. If only the show had the gumption of its leading lady.
    • 62 Metascore
    • 50 Matt Roush
    Rake's uneven tone (which makes Ally McBeal seem grounded in reality) left me numb.
    • 48 Metascore
    • 50 Matt Roush
    The problem is that self-styled bohemians, including sidekicks like a fey fashion photographer (John Cameron Mitchell) and a dumb-hunk bartender (Matt Borlenghi), hardly look natural delivering glib one-liners and performing slapstick spit-takes. [9 Sept 1996, p.3D]
    • USA Today
    • 69 Metascore
    • 50 Matt Roush
    As it wrestles with Big Moral Questions, Rubicon is unquestionably smart but undeniably sluggish.
    • 64 Metascore
    • 50 Matt Roush
    I simply hope Hot in Cleveland can give us more than the lukewarm pilot promises. Ohio deserves better, and so do these fabulous ladies.
    • 65 Metascore
    • 50 Matt Roush
    If you like Lifetime, you'll probably love this one.
    • 53 Metascore
    • 50 Matt Roush
    It almost torpedoes itself by being a bore and taking its futuristic sociology too doggone seriously. [18 Sept 1989, p.3D]
    • USA Today

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