For 858 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 2.7 points lower than other critics. (0-100 point scale)

Matt Roush's Scores

Average review score: 62
Highest review score: 100 Downton Abbey: Season 1
Lowest review score: 0 Zero Hour: Season 1
Score distribution:
858 tv reviews
    • 79 Metascore
    • 75 Matt Roush
    There are times when you don’t whether to scream with fear or laughter. Being Human is frighteningly good.
    • 69 Metascore
    • 75 Matt Roush
    Too often, the writing stretches for cheap shock -- gags about phallic-shaped food and not wearing undies -- when the shock of Neil's culture clash already makes perfectly audacious comedy. [11 Sep 1992]
    • USA Today
    • 84 Metascore
    • 75 Matt Roush
    It's sometimes lyrical, other times cruel, provocatively adult and often profane. The downside: a suffocating ambiguity that may smother its hopes for commercial success. [25 Oct 1996]
    • USA Today
    • 57 Metascore
    • 70 Matt Roush
    This slick new sitcom, from three former producer/writers of Cheers, might be accused of gliding along too smoothly, as opposed to soaring. But what a pleasant journey it promises to be. [19 Apr 1990, p.3D]
    • USA Today
    • 71 Metascore
    • 70 Matt Roush
    How mad you'll be for the slice-of-strife romantic comedy of Mad About You may depend on your tolerance for the young-ish and restless, verbally glib and urban-ly neurotic. [23 Sep 1992]
    • USA Today
    • 75 Metascore
    • 70 Matt Roush
    It may be formula, but one where all the elements reliably click. [16 Sep 1992]
    • USA Today
    • 72 Metascore
    • 70 Matt Roush
    Though boringly narrated by a 93-year-old Indy, the tales are the stuff of many a kid's adventure story - back when kids still read. [4 Mar 1992, p.1D]
    • USA Today
    • 64 Metascore
    • 70 Matt Roush
    Scrubs has lost none of its endearing ability to mix earnest sentiment with sardonic gag-centric humor.
    • 67 Metascore
    • 70 Matt Roush
    Stick around past the disappointing opening night, and on Monday, you’ll get a terrific third-hour cliffhanger and, in hour four, the arrival of a seriously damaged Renee Walker (Annie Wersching), who contributes to a shocking climax that, in fabled 24 tradition, leaves you wanting more.
    • 77 Metascore
    • 70 Matt Roush
    House is already shopping for a new mate. The situation is comic yet dramatic, as House is almost dangerously distracted from his medical-sleuth work. Some powerful stuff, but many of us are even more impatient for House to reunite his old team (the marginalized Cameron and Chase). The newbies just aren’t cutting it.
    • 70 Metascore
    • 70 Matt Roush
    It's all very entertaining, and extremely well acted, but feels overly hectic. Not until next Sunday's episode, when Bill and Barbara's daughter Sarah makes a move toward determining her own future, does Big Love approach the kind of emotional, transcendent high that made so much of last season so memorable.
    • 71 Metascore
    • 70 Matt Roush
    There’s something actually at stake this season, and the art of the deal has never looked nastie
    • 73 Metascore
    • 70 Matt Roush
    Reminiscent of 24 but about a dozen times more realistic (though dramatically more uneven).
    • 78 Metascore
    • 70 Matt Roush
    There's enough to enjoy in Weeds that you could get a contact high just by tuning in.
    • 44 Metascore
    • 70 Matt Roush
    An offbeat show that veers between wacky and truly poignant extremes.
    • TV Guide
    • 78 Metascore
    • 70 Matt Roush
    If your taste runs toward the appallingly crass, then you’ll probably want to end the night with a new season of the incorrigibly amusing It's Always Sunny in Philadelphia.
    • 70 Metascore
    • 70 Matt Roush
    This remake achieves an Avengers-like balance of cheeky wit amid the cheesiness.
    • TV Guide
    • 74 Metascore
    • 70 Matt Roush
    While an industry darling, 30 Rock has never been what you’d call a mainstream hit. That’s unlikely to change.
    • 57 Metascore
    • 70 Matt Roush
    Jerry Bruckheimer's latest fun-to-watch procedural.
    • 44 Metascore
    • 70 Matt Roush
    Deeply silly, endearingly sweet, a little creepy and undeniably weird.
    • 64 Metascore
    • 70 Matt Roush
    You'll root for these inept amateurs, but sustaining this premise won't be easy.
    • 58 Metascore
    • 70 Matt Roush
    As with Monk, the crime is largely an afterthought. Psych similarly serves up murder as a fluffy soufflé, but what a tasty way to end the week.
    • 68 Metascore
    • 70 Matt Roush
    If 24 is a roller coaster, The State Within is more of a cerebral maze of treachery. One's more fun, though the other has its dark pleasures.
    • 65 Metascore
    • 70 Matt Roush
    The unsettling juxtaposition of Yankees fever with Son of Sam's reign of terror is intriguing, but could have used a stronger authorial voice to tie it together.... Still, even non-Yankees fans should enjoy this one.
    • 64 Metascore
    • 70 Matt Roush
    The procedural stuff is mostly drab, but John's institutional memories of the Big Apple (dating back to when it was still a big jungle) make New Amsterdam more intriguing than it initially appears.
    • 64 Metascore
    • 70 Matt Roush
    Less lurid than HBO's Rome, yet still quite the pageant of pomp and friskiness, it's a throwback to the old-fashioned miniseries of yore, spiced with pay-cable frankness.
    • 64 Metascore
    • 70 Matt Roush
    Self-consciously edgy while flirting with cosmic schmaltz, Saving Grace is overdone, but not run-of-the-mill.
    • 61 Metascore
    • 70 Matt Roush
    This warm and fuzzy show could grow on you.
    • 65 Metascore
    • 70 Matt Roush
    It’s all very sweet and tuneful, and took me back to my days as a Hayley Mills groupie.
    • 54 Metascore
    • 70 Matt Roush
    A bit generic, despite the creepy particulars of this series’ science-based mysteries--think a more mainstream "Fringe."
    • 63 Metascore
    • 70 Matt Roush
    The enjoyable if less-than-inspired two-hour pilot introduces us to the warehouse, its bizarre inventory and the mismatched new agents in charge.
    • 40 Metascore
    • 70 Matt Roush
    This slick and often scary update presents a gripping medical mystery of scientific trial and error against a topical backdrop of bioterrorism, environmental activism and 24-style government conspiracy.
    • 61 Metascore
    • 70 Matt Roush
    So far, this seems a very promising ride. Maybe not one for the ages like BSG, but for the next few weeks, I’ll be curious to see how these space castaways cope.
    • 72 Metascore
    • 70 Matt Roush
    Even when the show gets a bit silly, there's a healthy sense of wonder at the origin of the artifacts our heroes regularly track down.
    • 51 Metascore
    • 70 Matt Roush
    The show's a little frantic and more than a little crude, but the jokes keep coming and many of them score in this depiction of Courteney Cox as a newly divorced and woefully insecure mom of a teenager.
    • 72 Metascore
    • 70 Matt Roush
    Even critics and fans who are intrigued (as I am) by the often riveting pilot--which ends on a whopper of a cliffhanger twist--can’t help projecting a bit into our own future, one that’s informed by a past that’s littered with ambitious pilot episodes that ultimately didn’t measure up.
    • 59 Metascore
    • 70 Matt Roush
    An efficient if predictable procedural that arrives on the scene after last spring’s two-part “backdoor pilot” with plenty of fistfights and gunfights and the sort of jovial camaraderie that endears classic NCIS to its millions of fans.
    • 71 Metascore
    • 70 Matt Roush
    The mayhem that ensues isn't exactly unexpected, but it is pretty funny. On ABC, that's definitely a step in the right direction.
    • 65 Metascore
    • 70 Matt Roush
    This one is trying something different, although its look and tone are conventional enough not to shake the TV fan from their comfort zone.
    • 63 Metascore
    • 70 Matt Roush
    It's like the biggest-budget USA Network show you ever saw, fun to watch but rather forgettable, because the stakes just don't feel all that high. Still, for those who've had their fill of dark drama, Undercovers may be just the ticket for a good snuggle.
    • 63 Metascore
    • 70 Matt Roush
    Besides the location, there's little about Detroit that is particularly new or groundbreaking, but it should easily satisfy the millions who seem to have a bottomless appetite for this genre. There are plenty that do it worse.
    • 66 Metascore
    • 70 Matt Roush
    The Big C is tonally all over the place, to the point where a terminal illness almost seems a relief. Linney has her best moments as she tries to reform an overweight student (Gabourey Sidibe, way sparklier than in Precious) and befriends a cranky neighbor widow (scene-stealer Phyllis Somerville).
    • 67 Metascore
    • 70 Matt Roush
    The pilot is such a mixed bag it's hard to predict. Often very entertaining as it piles on the mysteries and cliffhanger climaxes, it's also hopelessly and almost comically convoluted, presenting scenes with a "23 minutes earlier" or "13 months earlier" or "11 days earlier" tag with such frequency you end up barely knowing, let alone caring, when and where you are at any given time.
    • 64 Metascore
    • 70 Matt Roush
    Is Conan the sort of show that's going to revolutionize TV? Probably not. But Conan O'Brien remains a singularly appealing and wonderfully silly voice in the crowded clamor of late night, and it's good to see him back where he belongs.
    • 81 Metascore
    • 70 Matt Roush
    There is nothing heightened or cheapened by contrivance as the detectives and patrol cops go about their often sordid business.
    • 64 Metascore
    • 70 Matt Roush
    If you can make it past the exposition, and the earnest family cliches--a rebellious teenage son, an awkward brainiac daughter--there's plenty of satisfying dino action. And it all looks gorgeous.
    • 66 Metascore
    • 70 Matt Roush
    Like the notorious family that bribed its way into the Vatican's papal chamber while sullying many a Roman bedchamber, we want our money's worth. And The Borgias wickedly delivers, serving up an operatic feast of delicious malice and unbridled lust: for power and wealth, for carnal pleasure and vulgar theatrics.
    • 73 Metascore
    • 70 Matt Roush
    With only three hours to develop character and story, it can't help but suffer by comparison to the Emmy-winning '70s series that helped put Masterpiece Theater on the map, as well as to the recent Masterpiece triumph of the similarly themed Downton Abbey. But there are considerable pleasures.
    • 74 Metascore
    • 70 Matt Roush
    HBO's punchy, pungent but ultimately facile Cinema Verite dramatizes the making of 1973's revolutionary PBS (!) docu-series An American Family, a precursor to today's exhibitionistic "reality" freak shows.
    • 69 Metascore
    • 70 Matt Roush
    Our heroes' new companions may be less than electrifying, but there's plenty of action to compensate--and, as always, sex (though Capt. Jack now asks about protection)--and a chilling adversary in Oswald Danes (Bill Pullman), a psycho killer who survives execution and becomes a perverse cult hero in the media.
    • 74 Metascore
    • 70 Matt Roush
    The humor isn't exactly subtle, but much of it rings true.
    • 66 Metascore
    • 70 Matt Roush
    It feels awfully dated, except when Bello takes matters in her own hands to keep things fresh.
    • 68 Metascore
    • 70 Matt Roush
    While not quite as inspired as last year's breakthrough comedy Awkward, MTV's Pants appears to have legs.
    • 66 Metascore
    • 70 Matt Roush
    This show goes for Broke with its snappy dialogue, occasionally crossing the taste barrier with its grotesque ethnic caricatures (the girls' Asian boss in particular). But the girls have great chemistry.
    • 64 Metascore
    • 70 Matt Roush
    Rudolph is the wacky comic icing on what otherwise is a more grounded and endearingly realistic comedy about two exhausted new parents (Christina Applegate and Will Arnett) who are still adjusting to the loss of their it's-all-about-me, hard-partying lifestyle to make way for adorable baby Amy.
    • 79 Metascore
    • 70 Matt Roush
    Work of Art itself manages to elevate this often schlocky genre into an entertaining celebration of the process of creation, with some startling and visionary (and occasionally disturbing) pieces produced under intense pressure.
    • 59 Metascore
    • 70 Matt Roush
    The first episode opens and closes on the cliffhanger of Bridget-as-Siobhan being stalked by an unseen menace, but which sister is the actual target? As long as Ringer keeps us asking questions like this, and Gellar keeps us engaged in the deluxe and twisted sister act, we're more than happy to be put through the romantic-suspense wringer.
    • 63 Metascore
    • 70 Matt Roush
    Comedy isn't pretty, but in the Short run, it can be painfully hilarious, even when it feels like Gervais is retreading some awfully familiar material here.
    • 63 Metascore
    • 70 Matt Roush
    [Touch is] emotionally compelling but wildly fantastical and undeniably manipulative.
    • 58 Metascore
    • 70 Matt Roush
    The series is low-key to a fault but likable, not so different from Bones in its sense of off-kilter humanistic humor, though never as graphic.
    • 55 Metascore
    • 70 Matt Roush
    Mostly, despite a title that sounds like a roofie, this is good harmless fun.
    • 68 Metascore
    • 70 Matt Roush
    Sarah isn't easy to warm up to, and neither is The Killing, though I respect its moody insistence at depicting even the most sympathetic figures in the worst possible light.
    • 68 Metascore
    • 70 Matt Roush
    Bent is the sort of funky offbeat comedy that grows on you, so watching more than one episode at a sitting turns out to be a good thing.
    • 75 Metascore
    • 70 Matt Roush
    Watching things go to hell was great fun. Being stuck in sitcom hell turns out to be a bit more trying.
    • 64 Metascore
    • 70 Matt Roush
    This may not be Peabody material, but if you like a show that's not afraid to go bananas, this might just be your type of low-hanging fruit.
    • 64 Metascore
    • 70 Matt Roush
    Falling Skies has amped up the dramatic stakes this season, even offering a glimmer of hope when an unexpected visitor drops into their midst, balancing the earnest family values with a visceral survival saga that keeps the hokum mostly at bay.
    • 54 Metascore
    • 70 Matt Roush
    It never takes itself very seriously, yet there is serious chemistry between these guys.
    • 75 Metascore
    • 70 Matt Roush
    It has sharpened this season (judging from the first five episodes) into a bolder, though still hardly subtle, urban melodrama of moral, political and sexual chicanery.
    • 62 Metascore
    • 70 Matt Roush
    Smash introduces its winsome ingénue Karen (Katharine McPhee) to a headstrong young songwriter with hip Rent ambitions (rising star Jeremy Jordan, who headlined two real Broadway musicals last year). This subplot, like much of Smash, is cheesy and corny, but works when the impassioned singing starts. Which, for a musical drama about musicals, is what matters most.
    • 54 Metascore
    • 70 Matt Roush
    HBO's woozy and often intoxicating Hemingway & Gellhorn [is] a sprawling docudrama (overlong at 160 minutes) about glamorous world adventurers whose weapons are words.
    • 67 Metascore
    • 70 Matt Roush
    It is satisfying in its own low-key way, a solid companion piece to the laid-back charms of The Glades
    • 68 Metascore
    • 70 Matt Roush
    It's a solid premise executed with the usual CBS professionalism.
    • 62 Metascore
    • 70 Matt Roush
    The show's predictably melodramatic rhythms and telegraphed twists will be like nectar to those still pining for this old-school style of skullduggery.
    • 72 Metascore
    • 70 Matt Roush
    Sons may be as busy as it is brutal, but at least its heartlessness is in the right place.
    • 73 Metascore
    • 70 Matt Roush
    Glee is off to a good start. Please let it last.
    • 60 Metascore
    • 70 Matt Roush
    The not-half-bad British Sinbad is good family fun, a visually appealing romp filmed in Malta.
    • 75 Metascore
    • 70 Matt Roush
    It's the absurdly over-the-top machismo of countless firefights and explosions and high-body-count carnage that makes Strike Back such a cheese-tastic guilty pleasure.
    • 60 Metascore
    • 70 Matt Roush
    As you'd expect from co-creator Ryan Murphy (Glee), the tone can wobble from sappy to flamboyantly snarky, but there's a real emotional undercurrent that makes Normal a good fit with Matthew Perry's new sitcom Go On.
    • 78 Metascore
    • 70 Matt Roush
    Some of the episode is forced--Sarah's babbling job tryout with Hank, for instance--but in those universal moments of family togetherness and transition, as these grown-ups who sometimes still feel like kids marvel at the mystery of parenthood, Parenthood is worth its weight in sentimental angst.
    • 73 Metascore
    • 70 Matt Roush
    Familiarity points deducted, Arrow is still a very slick piece of work.
    • 70 Metascore
    • 70 Matt Roush
    The twists are solid, if never as electrifying as on Showtime's Homeland, while George clearly learned her lessons well at the feet of Sydney Bristow.
    • 66 Metascore
    • 70 Matt Roush
    At just 90 minutes, The Girl can feel rushed and only occasionally convinces us that an actual movie is being made--this is so focused on Hitch-and-Tippi you'd think The Birds was a one-woman show.
    • 61 Metascore
    • 70 Matt Roush
    This agreeable, though hardly groundbreaking, hour-long buddy comedy-with-music is almost as catchy as the cover tunes these wedding (and occasional Bar Mitzvah) singer/musicians specialize in.
    • 82 Metascore
    • 70 Matt Roush
    Once again the veterans wipe the floor with the young whippersnappers.
    • 66 Metascore
    • 70 Matt Roush
    Cougar Town is as unrepentantly shallow and silly as ever.
    • 55 Metascore
    • 70 Matt Roush
    The cast is solid and admirably diverse.... While never as engaging as Grey's Anatomy nor clever enough to make us forget the void left by House's departure, Mornings at least does no harm.
    • 57 Metascore
    • 70 Matt Roush
    Much of the casting is disappointingly flat, and the character development as shallow as in any video game.... Still, ambition counts for a lot in this expansive genre, and Defiance gets better with each episode.
    • 57 Metascore
    • 70 Matt Roush
    It's a step above the typical CW soap, and worth penciling in an appointment in your own TV diary.
    • 69 Metascore
    • 70 Matt Roush
    Their [Jim and Billy's] relationship deepens as the series continues, and while I'm not sure there's an actual series in this set-up, for now Legit achieves a legitimately engaging balance between the shockingly grotesque and the genuinely heartfelt.
    • 66 Metascore
    • 70 Matt Roush
    Curiously compelling.
    • 51 Metascore
    • 70 Matt Roush
    His easy camaraderie with these women [in prison] forms the core of the film, HBO's eighth collaboration with filmmaker Alexandra Pelosi, and their mutual affection and hope for a better future is genuinely inspiring.
    • 69 Metascore
    • 70 Matt Roush
    It's too early yet to know if the writing can avoid the pitfalls of the "Who Killed Rosie Larsen?" story, but this is off to a promising start.
    • 66 Metascore
    • 70 Matt Roush
    Recovery won't be easy, but so far it's an enjoyably bumpy ride.
    • 71 Metascore
    • 70 Matt Roush
    The sardonically squirm-inducing Maron alternates between slice-of-rant sitcom and self-obsessed podcast from the comedian's garage.
    • 73 Metascore
    • 70 Matt Roush
    The intriguing three-part The Bletchley Circle, which admirably avoids preciousness as it depicts the teamwork of four women who during WWII worked secretly for the government as code breakers (Bletchley Park was their HQ).
    • 71 Metascore
    • 70 Matt Roush
    Dexter's scenes with Vogel and Deb are so electrifying and morbidly juicy that the subplots involving Dexter's co-workers in Miami Metro Homicide seem more than ever like dreary padding.
    • 74 Metascore
    • 70 Matt Roush
    Like many HBO half-hours, this is a slow, slow burn to get to a payoff. The smiles here are of recognition that even the most ordinary families can have wonderfully strange roots.
    • 50 Metascore
    • 70 Matt Roush
    The dumb-laugh ratio is surprisingly high. Much of the credit goes to pros like Beau Bridges and Margo Martindale.
    • 70 Metascore
    • 70 Matt Roush
    Earnest but rarely saccharine.
    • 70 Metascore
    • 70 Matt Roush
    Adapted from three overlapping page-turners by the prolific Philippa Gregory, this enjoyably propulsive high melodrama replays the classic Wars of the Roses family feud (York vs. Lancaster) from the perspective of the women who are both pawns and players in a violent, turbulent game of claiming and keeping the English throne.