For 219 reviews, this critic has graded:
  • 45% higher than the average critic
  • 4% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 0.2 points lower than other critics. (0-100 point scale)

Matt Zoller Seitz's Scores

  • TV
Average review score: 65
Highest review score: 100 Six by Sondheim: Season 1
Lowest review score: 0 Liz & Dick: Season 1
Score distribution:
  1. Negative: 20 out of 219
219 tv reviews
    • 63 Metascore
    • 70 Matt Zoller Seitz
    Buried beneath the frenzied, too-eager-to-please surface is a comedy that, at its best, evokes the colorful bustle of Malcolm in the Middle and the worn-down wisdom of Men of a Certain Age. There's life in it.
    • 62 Metascore
    • 70 Matt Zoller Seitz
    The show is derivative but passionate, verging on corny. It means what it’s telling us and showing us, and there’s a sense of curiosity and commitment in every frame.
    • 64 Metascore
    • 70 Matt Zoller Seitz
    It's witty but never overly pleased with itself, and even when it's predictable, it's predictable with a wink that says, "Come on--you know you needed that to happen."
    • 76 Metascore
    • 70 Matt Zoller Seitz
    The more frequently Birthday Boys returns to seemingly unfunny or barely funny bits, the funnier they eventually become--another Python borrowing, and a good one.
    • 80 Metascore
    • 70 Matt Zoller Seitz
    The fourth hour immediately went on my list of the year's best drama episodes; at least half of it is eye-rollingly silly, but the other half is magnificent. Just when you think the Underwoods can be written off as comic strip political cousins of the Macbeths, they do or say something that's genuinely moving, and that makes you realize they have hearts after all, even though they're probably tiny and ice-cold, and only beat for one another.
    • 82 Metascore
    • 70 Matt Zoller Seitz
    Sagan was on record as being agnostic, but he carved out a space within the 1980 Cosmos for believers as well, and some of his more oracular turns of phrase convinced many people of faith that he was, if not an ally, then at least not an adversary. This new Cosmos is not so easygoing.
    • 57 Metascore
    • 60 Matt Zoller Seitz
    It's still as detailed, opaque and confusing as ever. [8 Jan 2005]
    • 59 Metascore
    • 60 Matt Zoller Seitz
    Las Vegas is definitely watchable; the pace is so fast that it's as if the filmmakers are fast- forwarding so you don't have to. But the plot is so tangled it's almost incomprehensible, the grace notes are laminated beneath visual slickness - and throughout, it's hard to shake the feeling that you've seen it before and don't need to see it again. [22 Sept 2003, p.35]
    • 57 Metascore
    • 60 Matt Zoller Seitz
    Like most Burnett productions, "The Apprentice" is half game show, half sociological experiment - a glitzy, fast-paced TV program that simultaneously manages to critique and celebrate the Western World's cutthroat obsession with success. [7 Jan 2004]
    • 49 Metascore
    • 60 Matt Zoller Seitz
    The longer this show goes on, the more it seems like a network soap in cable drama drag. ... "Housewives" is a depressingly safe show, one that cushions the impact of its plot twists with the dramatic equivalent of air bags. [27 Sep 2005]
    • 66 Metascore
    • 60 Matt Zoller Seitz
    Now and then Shameless sloughs off its mostly self-imposed constraints and fires on all cylinders, observing economic hardship, drunken tomfoolery and sexual shenanigans with a keen eye for class specifics.
    • 66 Metascore
    • 60 Matt Zoller Seitz
    Revenge might sound enjoyably soapy in the abstract, but its execution is problematic.
    • 80 Metascore
    • 60 Matt Zoller Seitz
    As we head into Season 2, it's becoming increasingly clear that they [the actors] can't make these characters interesting, because they're too thinly conceived.
    • 63 Metascore
    • 60 Matt Zoller Seitz
    Hell on Wheels didn't turn into a great drama, but it settled into a distinctive groove, growing more relaxed and confident by the week.
    • 59 Metascore
    • 60 Matt Zoller Seitz
    Both the new actor and the revamped series take some getting used to.
    • 74 Metascore
    • 60 Matt Zoller Seitz
    The movie is better than you've heard but not good enough to linger in the mind.
    • 50 Metascore
    • 60 Matt Zoller Seitz
    Missteps are balanced by bits that ring oddly true.
    • 64 Metascore
    • 60 Matt Zoller Seitz
    It's the new Revenge, but so much goofier and more shameless that it makes Revenge look comparatively measured.
    • 72 Metascore
    • 60 Matt Zoller Seitz
    It's all rather weightless: just your usual sitcom-style misunderstandings and bruised egos and "complications ensue," with no sense that anything larger is at stake.
    • 65 Metascore
    • 60 Matt Zoller Seitz
    Too much of Political Animals feels like good-enough-for-government-work drama, and I can't help believing it would have been more compelling, maybe genuinely subversive, if it had replaced some of the scenes that attack the show's main themes head-on with pick-axes, and substituted ones that showed the female characters simply doing their jobs, commanding more than reluctant respect from men.
    • 48 Metascore
    • 60 Matt Zoller Seitz
    It's knowingly dumb and aiming for smart-dumb, and over time it might get there.
    • 62 Metascore
    • 60 Matt Zoller Seitz
    Still, for all its flaws, this is an intriguing show, packed with atmospheric details and Easter-egg-style grace notes.
    • 38 Metascore
    • 60 Matt Zoller Seitz
    The weak link is Jesse Bradford's Chris.... The other couples are more humanely drawn. Because they make emotional and psychological sense, the chirpy sitcom banter goes down more smoothly.
    • 73 Metascore
    • 60 Matt Zoller Seitz
    Arrow is sincere and energetic but visually undistinguished.
    • 41 Metascore
    • 60 Matt Zoller Seitz
    The pilot for ABC's extraterrestrial silly-fest feels half-baked, and parts of it just sort of lie there, but this shouldn't be a deal breaker.
    • 49 Metascore
    • 60 Matt Zoller Seitz
    Chicago Fire gets better week-to-week, finding its own vibe, one that mixes TV-14 gore, soap opera entanglements, and working-class-hero earnestness. Sincerity puts the whole thing over.
    • 66 Metascore
    • 60 Matt Zoller Seitz
    The series' bludgeoning aesthetic is silly, but it works. Much of History's programming aims to intrigue viewers who might never crack open a book, while assuring literate history buffs that the filmmakers know what they're talking about.
    • 61 Metascore
    • 60 Matt Zoller Seitz
    While it's emphatically not a great show, it is an overheated yet intriguing one, driven more by visuals than words--and if you don't mind that its gory action and soap-opera plots aren't yet matched by dialogue and performance, it's worth a look.
    • 62 Metascore
    • 60 Matt Zoller Seitz
    Nothing in this pilot promises how fascinating the show will ultimately become, and unfortunately, the show is more efficient than truly good. ... The first four episodes contain no aesthetically pleasing shots or sequences, just tedious coverage of talk and action, and too many of its 'shocking' moments are dependent on visual/aural shortcuts. ... Nevertheless, The Following fascinates, thanks to soulful lead performances by Bacon and Justified's Natalie Zea (as Carroll's ex-wife) and the nervy way it develops and sustains its central flourish.
    • 91 Metascore
    • 60 Matt Zoller Seitz
    Broadchurch excels at showing the awkward moments between the briskly delivered plot points, and the small details of voice and gesture that define communities in mourning (or guilty panic), and it has the good sense not to overdo anything.... And yet there's something fundamentally unsatisfying about the whole thing, as smart and intricately structured as it is--and it has nothing whatsoever to do with any writing or acting or filmmaking issues, and everything to do with the fact that we've just been to this particular narrative well too many times in 2013.