Matt Zoller Seitz

Select another critic »
For 386 reviews, this critic has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% 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

Average review score: 66
Highest review score: 100 Legion: Season 1
Lowest review score: 0 Criminal Minds: Suspect Behavior: Season 1
Score distribution:
  1. Negative: 30 out of 386
386 tv reviews
    • 94 Metascore
    • 100 Matt Zoller Seitz
    Genndy Tartakovsky is the world’s greatest living action filmmaker, and Samurai Jack, which starts its fifth and final season on Cartoon Network’s Adult Swim March 11, is the most aesthetically daring series on TV. Amazingly, both statements were true back in 2004, the last time Samurai Jack aired new episodes.
    • 88 Metascore
    • 100 Matt Zoller Seitz
    Archer is the next generation version of "Get Smart," with a similarly thickheaded, overconfident, horny hero whose petulant deadpan lines are funnier than they have any right to be.
    • 88 Metascore
    • 100 Matt Zoller Seitz
    You could say it’s as close as a broadcast network has gotten to the personal artistry of the best premium-cable shows, if it weren’t bolder and more elegant than anything on pay cable right now, including HBO’s own serial-killer drama, True Detective.
    • 90 Metascore
    • 100 Matt Zoller Seitz
    Is Game of Thrones one of the great HBO series? It's too early to tell, though judged purely as an immense yet improbably graceful narrative machine, I'd have to say yes.
    • 69 Metascore
    • 100 Matt Zoller Seitz
    Mildred Pierce is a masterpiece.
    • 89 Metascore
    • 100 Matt Zoller Seitz
    The program works so well as curdled Americana, you might not be inclined to peel back the other layers, much less delve into what’s happening at a storytelling level (which is even more impressive); but that’s a part of what makes Olive Kitteridge so pleasurable: its unobtrusive ambition.
    • 93 Metascore
    • 100 Matt Zoller Seitz
    The greatest dramatic series in the history of American television. [6 Mar 2005, p.1]
    • Newark Star-Ledger
    • 90 Metascore
    • 100 Matt Zoller Seitz
    I’m grateful that a series like this one exists in the first place. That it’s so intelligently written and shot and thoughtfully acted is a marvelous bonus.
    • 94 Metascore
    • 100 Matt Zoller Seitz
    The storytelling seems to have hit a new peak of relaxed confidence. In every scene you get a sense of steady forward motion. New characters are introduced and old characters deepened, and devious new plots are laid out so deftly that it's not until midway through episode three that you look back over everything that came before and laugh at yourself for not having seen a particular surprise coming
    • 85 Metascore
    • 100 Matt Zoller Seitz
    The film has poetry and vitality, too, and its greatest virtue is that it seems not to give a damn if you approve of any of its creative choices as long as you connect with it emotionally and intellectually.
    • 94 Metascore
    • 100 Matt Zoller Seitz
    Louie is the anti–Anger Management: bizarre, inventive, and bold.
    • 76 Metascore
    • 100 Matt Zoller Seitz
    At its best, Futurama blends raised-eyebrow postgraduate-thesis humor and fifth-grade-lunchroom spit-take humor. That’s not a combination you see every day--and as a bonus, Futurama stirs in unironically beautiful, at times thrilling visuals.
    • 96 Metascore
    • 100 Matt Zoller Seitz
    Season two is one of the better TV dramas of an already excellent year, and that series creator Noah Hawley, his filmmaking team, and his cast have perfected what was already a promising spinoff of the Coen Brothers’ 1996 classic.
    • 81 Metascore
    • 100 Matt Zoller Seitz
    The cast is exceptional, never carrying themselves as if they are above the often confused, petty, or weak characters they portray; Shawkat in particular is a revelation, at times channeling the doe-eyed distress of Mia Farrow in Rosemary’s Baby. This is just a great show, refreshingly unafraid to twist the knife--a late-breaking candidate for best series of 2016.
    • 92 Metascore
    • 100 Matt Zoller Seitz
    [Homeland] sounds as though it could have been pitched as "The Manchurian Candidate: The Series." But set that aside, if you can, and look at what's on-screen, because it'll reward your attention.
    • 82 Metascore
    • 100 Matt Zoller Seitz
    The first three episodes of this X-Men-styled mutant melodrama are superb, and the pilot in particular is an all-timer, but the whole thing is so aesthetically fresh that I could see myself continuing to watch it even if it suddenly became dumb as hell, just to see what new storytelling trick showrunner Noah Hawley and his collaborators have up their puffy magicians’ sleeves.
    • 87 Metascore
    • 100 Matt Zoller Seitz
    A triumph of writing, directing, and acting.
    • 85 Metascore
    • 100 Matt Zoller Seitz
    This is one of the best movies about the artistic process I've seen--a film that can engross and illuminate even if you know nothing of Sondheim.
    • 95 Metascore
    • 100 Matt Zoller Seitz
    It has a knack for creating metaphorically or symbolically rich situations that never strut about announcing themselves as such. It’s all there if you care to delve into it, but it’s never in the foreground and affixed with a tag; often you catch it hiding behind, or within, the characterizations and plot twists, as spies hide in plain sight.
    • 85 Metascore
    • 100 Matt Zoller Seitz
    This is one of the year’s very best TV programs, hard as it sometimes is to endure.
    • 89 Metascore
    • 100 Matt Zoller Seitz
    Every conflict or showdown is emotionally or physically concrete yet at the same time metaphorical, the stuff of future legends. And the My Dinner With Andre and His Guns dialogue is so off-the-charts lyrical that you can hear the writers chuckling.
    • 83 Metascore
    • 100 Matt Zoller Seitz
    Whoopi Goldberg presents Moms Mabley is simple but perfect--one of those documentaries that's about what it seems to be about, but is also about something else.
    • 83 Metascore
    • 100 Matt Zoller Seitz
    There’s a solid, patient, confident quality to this movie that’s rarely seen in modern mainstream cinema. It’s better than most American films playing in theaters, and better than most of HBO’s films, too.
    • 70 Metascore
    • 100 Matt Zoller Seitz
    For the most part, Oz is an awesome achievement - an alternately crude and elegant attempt to expand the boundaries of the one-hour drama. If it can avoid an over reliance on prison movie clichs, stay focused on the redemption theme and give its powerhouse cast more room to breathe, it could be one of the most important works ever aired on American television. [12 July 1997, p.29]
    • Newark Star-Ledger
    • 94 Metascore
    • 100 Matt Zoller Seitz
    As always, The Americans does complex work that never calls attention to its complexity. The associations and connections are there if you care to make them, but the show maintains plausible deniability as a good spy should, walking briskly from scene to scene as if it’s just here to get the job done and get out.
    • 98 Metascore
    • 100 Matt Zoller Seitz
    A masterful two-hour finale to an already exceptional program. [21 Oct 2004]
    • Newark Star-Ledger
    • 71 Metascore
    • 100 Matt Zoller Seitz
    The pilot for the musical drama Vinyl is one of Martin Scorsese’s best films, an explosion of amplifier feedback, nose candy, wide-lapeled shirts, and borderline chaos; the next four episodes are almost as good, and on the basis of the first half-season, it already feels like the first new must-see series of 2016.
    • 74 Metascore
    • 100 Matt Zoller Seitz
    LeBlanc is brilliant; the writing and direction are brilliant; the show is brilliant.
    • 90 Metascore
    • 100 Matt Zoller Seitz
    Atlanta and Better Things take C.K.’s refinements to a new level, merge them with worldviews that you rarely see represented on TV, and tell their stories with such economy and grace that you might feel as if a new language were being worked out before your eyes.
    • 92 Metascore
    • 100 Matt Zoller Seitz
    Every shot and cut seems timed for maximum impact; you get a little bit of beauty here and there, but for the most part it's go, go, go, comrade, onto the next thing, and don't look back.
    • 79 Metascore
    • 100 Matt Zoller Seitz
    Atlanta and Better Things take C.K.’s refinements to a new level, merge them with worldviews that you rarely see represented on TV, and tell their stories with such economy and grace that you might feel as if a new language were being worked out before your eyes.
    • 78 Metascore
    • 100 Matt Zoller Seitz
    I think it’s easily one of the best shows of the year, and a major work by everyone involved, for reasons that I’ll allude to momentarily--though not in detail, because The Girlfriend Experience is actually four or five shows rolled into one, and a big part of its specialness resides in those moments where it morphs from one thing into another.
    • 84 Metascore
    • 90 Matt Zoller Seitz
    The show’s version of machismo is hilarious, and feels new. Silicon Valley captures the pack-wolf preening of guys whose muscles are located mostly above their necklines.
    • 85 Metascore
    • 90 Matt Zoller Seitz
    Scene for scene, it feels more attuned to the daily realities of life in 2016 America than any other drama on network TV. And because it’s a self-contained story that bears no relation to season one, you can jump right into it. I urge you to give it a shot if you aren’t already a fan. Just be patient. It’s one of those shows that needs a bit of time to work its peculiar magic.
    • 89 Metascore
    • 90 Matt Zoller Seitz
    Rectify is such a quiet, patient series that it takes awhile to realize how radical its storytelling is. Near the end of season two it seemed to rethink itself, and the first couple of episodes of season three suggest that the show is about to reinvent itself and shift its focus while trying to hold on to the qualities that made it so special--and frankly, peculiar.
    • 72 Metascore
    • 90 Matt Zoller Seitz
    I suspect it might be a classic that deserves a spot in the pantheon of great, long-delayed follow-ups, though I need to watch the whole thing again and live with it and then write about it again to be sure. That I’d want to rewatch the whole season immediately is, of course, another, possibly higher compliment.
    • 91 Metascore
    • 90 Matt Zoller Seitz
    The physicality of the visuals and the performances helps power Game of Thrones past any rough patches--not that there have been that many.
    • 91 Metascore
    • 90 Matt Zoller Seitz
    The level of craft and intelligence is so high here that Thrones earns the right to think of itself as doing for sword and sorcery what Coppola's Godfather trilogy did for the gangster picture: taking it seriously as modern myth without sapping it of old-fashioned entertainment value.
    • 90 Metascore
    • 90 Matt Zoller Seitz
    Oh My God is animated by deep skepticism and an appreciation of joy, qualities that don’t normally mix in comedy and that might seem, in a different context, incompatible. But they aren’t incompatible--not here, anyway.
    • 89 Metascore
    • 90 Matt Zoller Seitz
    With its mix of curveball innovations and very BoJack elements, season three of Raphael Bob-Waksberg’s cartoon sitcom set in a species-mixed world of humans and animals might be its best overall, though it necessarily lacks the aspect of jaw-dropping surprise that made it so beguiling in its first two outings.
    • 75 Metascore
    • 90 Matt Zoller Seitz
    Not since Deadwood has a period-drama production designed to a fare-thee-well and steeped in nasty atmosphere been so politically astute about who has power over whom and why--although the subtler brand of gallows humor and Soderbergh’s fondness for intricately choreographed long takes aligns The Knick with a different TV classic that Deadwood creator David Milch worked on, Hill Street Blues.
    • 90 Metascore
    • 90 Matt Zoller Seitz
    But what's amazing, maybe even revolutionary, about The Corner is this: as its narrative plays out in six laid-back, detail-packed, one-hour installments, you come to see that all the major characters don't belong in this place, in this life. [16 Apr 2000, p.1]
    • Newark Star-Ledger
    • 85 Metascore
    • 90 Matt Zoller Seitz
    The show’s alchemy stems from its skillful use of smartly cast actors whose poker-faced sincerity makes us take whatever version of this story we happen to be hearing as gospel.
    • 90 Metascore
    • 90 Matt Zoller Seitz
    It follows the Slow TV template recently perfected by the likes of American Crime and The People vs. O.J. Simpson, giving each scene maximum space to breathe, often more than it needs. But the net effect is hypnotic, like reading a fat crime novel filled with memorable characters and atmospheric details.
    • 91 Metascore
    • 90 Matt Zoller Seitz
    Sherlock is a wonderful series. Just thinking about it makes me smile.
    • 82 Metascore
    • 90 Matt Zoller Seitz
    Season two of the show is more enjoyable than season one because, for long stretches, it barely remembers what it's about, plot-wise, and enters that trancelike comedy zone where some of the best sketch comedy resides--a place of one-damn-thing-after-another inventiveness.
    • 87 Metascore
    • 90 Matt Zoller Seitz
    The first four episodes sent out for review become stranger and less “realistic” by the hour, not to mention more stereotypically HBO-like (artfully arranged corpses; drug-thug posturing and handgun-waving; gratuitous T&A) and less concerned with the case that Cohle and Hart are allegedly trying to solve. But the show’s time-shifting structure is so painstaking that even when True Detective spirals into lurid madness there still seems to be purpose behind it.
    • 82 Metascore
    • 90 Matt Zoller Seitz
    This series is Burns doing Guthrie, bringing a lifetime of experience and craft to bear on a story of people struggling through hard times. He's picking up a guitar and telling us a story--a great one.
    • 78 Metascore
    • 90 Matt Zoller Seitz
    Even at its worst, Boss radiates intelligence and toughness, and an appreciation of politics as a nonstop performance in an unscripted drama.
    • 79 Metascore
    • 90 Matt Zoller Seitz
    This is the sort of series that makes difficult things seem easy, so easy that you often don’t realize how artful it is until you think back on it.
    • 90 Metascore
    • 90 Matt Zoller Seitz
    For all its gore, gunfire, and criminal nastiness, it's a joyous show; even when the characters are scowling, the show seems to be grinning at you.
    • 88 Metascore
    • 90 Matt Zoller Seitz
    "Curb" never presents itself as anything but a cleverly plotted, deliberately offensive comedy. But it's more than a comedy: It's a comedy of manners, or bad manners; delightfully rude, and, in its unreal way, honest. [3 Jan 2004]
    • Newark Star-Ledger
    • 77 Metascore
    • 90 Matt Zoller Seitz
    In its own sweet way, this is a landmark show.
    • 85 Metascore
    • 90 Matt Zoller Seitz
    Rick and Morty won't get us any closer to a workable definition of Harmon's genius, but at least it clarifies that the unhinged quality that Community once had wasn't accidental.
    • 84 Metascore
    • 90 Matt Zoller Seitz
    It lets you simultaneously laugh at and with the characters, and feel justified for laughing, then ashamed, and then the pendulum swings back again; this is a much messier and more fascinating set of reactions than what sitcoms typically evoke.
    • 99 Metascore
    • 90 Matt Zoller Seitz
    "The Larry Sanders Show" is the most painful comedy on TV, and I mean that as a compliment. At its best, this half-hour sitcom, set in and around a Los Angeles-based talk show, achieves a sublime level of cruelty. [13 Mar 1998]
    • Newark Star-Ledger
    • 86 Metascore
    • 90 Matt Zoller Seitz
    The phrase "stream-of- consciousness" doesn't do it justice. Geyser-of-consciousness is more like it. What holds it together is the program's unique comic voice. [12 Sep 1997]
    • Newark Star-Ledger
    • 85 Metascore
    • 90 Matt Zoller Seitz
    To watch any engrossing drama is to feel for fictional people the way we feel for real-life friends. Even when they piss us off, we wish them the best.
    • 75 Metascore
    • 90 Matt Zoller Seitz
    An earnest, soulful update of the Superman myth. [16 Oct 2001, p.55]
    • Newark Star-Ledger
    • 82 Metascore
    • 90 Matt Zoller Seitz
    Delightful. [8 Nov 2001, p.45]
    • Newark Star-Ledger
    • 81 Metascore
    • 90 Matt Zoller Seitz
    The performances are superb from leads on down to cameo players, and in addition to showcasing a sureness of purpose that you’d expect from good actors who’ve been given strong material, you also feel a sense of elation in individual scenes.
    • 81 Metascore
    • 90 Matt Zoller Seitz
    It believes in the story it's telling and expects everyone watching the series not just to have a good time, but to commit. If every drama series had a tenth as much passion, TV would be a far more interesting place.
    • 88 Metascore
    • 90 Matt Zoller Seitz
    It's these deeper questions [Deciding to live the day-to-day performance of an ideal, a belief, an emotion, a set of principles, a faith?] that give the action and melodrama a bit of existential heft, and redirect our vicarious enjoyment away from fantasy and back towards reality.
    • 88 Metascore
    • 80 Matt Zoller Seitz
    It should still be said, however, that pretty good Burns is pretty great, provided you more or less agree with his take on things.
    • 55 Metascore
    • 80 Matt Zoller Seitz
    The show has a knack for Godfather-style plots and counter­plots, as well as for sixties Hammer-horror violence that doles out gore and suffering strategically: a dollop of blood here, a severed head there. There’s a bracing wantonness to the writers’ inventions here.
    • 72 Metascore
    • 80 Matt Zoller Seitz
    There are moments in each episode when a disarming sincerity shines through, and you realize that you’re seeing that rarity of rarities: television characters who are having substantive, free-ranging conversations about something other than their own needs, and finding themselves getting closer to something like mutual understanding. This is hard to do without coming off as pompous or Polyannaish, but Easy makes it look easy.
    • 92 Metascore
    • 80 Matt Zoller Seitz
    Some of the encounters evoke the returned abductees in Close Encounters of the Third Kind, while others have the nasty, bone-deep chill you associate with John Carpenter’s stalk-and-kill classics. Beneath it all is an air of existential dread. The universe is out of order. Life itself has gone haywire.
    • 87 Metascore
    • 80 Matt Zoller Seitz
    That’s [fleshing out the supporting players and introduce new wrinkles into the main relationship] more or less what Catastrophe does this time out, with varying degrees of success, but always with enough wit and energy that you’ll want to keep watching even if what’s onscreen is not as blazingly fresh as what you saw last time.
    • 77 Metascore
    • 80 Matt Zoller Seitz
    It's at its best, perhaps, when showing the emotional complexities of family.
    • 87 Metascore
    • 80 Matt Zoller Seitz
    NBC's half-hour slice of small-town life isn't perfect right out of the gate; few shows are. But it's so sure-footed and engaging that it would be a pleasure to see how it turns out. [7 Oct 2000, p.43]
    • Newark Star-Ledger
    • 53 Metascore
    • 80 Matt Zoller Seitz
    What's there is fascinating. More than perhaps anyone writing for TV, Carter understands the tactical value of withholding information; he gives us just enough to pique our interest and then pulls back, promising to deliver more when the time is right. The first installment of Harsh Realm promises plenty. [8 Oct 1999, p.71]
    • Newark Star-Ledger
    • 80 Metascore
    • 80 Matt Zoller Seitz
    Throughout, there’s a sense that ­Community is building, or rebuilding, toward something big and bold--that what you’re seeing is not so much a revamp as a restoration. Few live-action sitcoms are so aware of their artificiality and yet so ­singularly alive.
    • 84 Metascore
    • 80 Matt Zoller Seitz
    Bee's program is one more "publication" added to an increasingly crowded TV newsstand, but it already feels distinctive enough to merit regular check-ins, if not yet a DVR season pass.
    • 68 Metascore
    • 80 Matt Zoller Seitz
    It’s less an action drama than a droll, often gleefully random comedy about deception, family, and the complexity of the human personality. It sets a distinct narrative path for itself but then departs from it early and often. Over time the digressions don’t just subsume the show’s main plot, they become the main source of its specialness.
    • 74 Metascore
    • 80 Matt Zoller Seitz
    Westworld is an adults-only drama with characters who seem a bit abstract and thin in the first couple of episodes but who grow more complex the longer you spend in their company.
    • 83 Metascore
    • 80 Matt Zoller Seitz
    This Roots isn’t as altogether strongly acted as the 1977 version--though there are still plenty of standouts.... But the unmistakable spiritual dimension, an aspect lacking in the original, compensates, and it comes mainly from the writing and direction.
    • 64 Metascore
    • 80 Matt Zoller Seitz
    The show’s chilled-out confidence (as if it were starting its second season rather than its first) is appealing, and the cast’s Swiss-watch timing makes even lackluster exchanges crackle, but The Michael J. Fox Show’s selling point is its multivalent comic richness.
    • 73 Metascore
    • 80 Matt Zoller Seitz
    There are times when it’s a little too relaxed for its own good, and it has trouble reconciling its wit and sexiness with bursts of harrowing violence that feel imported from a Quentin Tarantino movie (or a film by one of Tarantino’s imitators). But the sum total is so beguiling and unusual--for television as a whole, if not for Sundance, which specializes in this kind of storytelling--that it’s hard not to become entranced by it.
    • 47 Metascore
    • 80 Matt Zoller Seitz
    All this should seem precious and dumb, but it doesn't, thanks to the cast's deadpan intelligence and some sharp, self-aware writing (the characters' names often refer to characters in fiction by J.D. Salinger ). Best of all, Travis fails to wrap everything up in a neat, happy way; the second episode, which is much better than the first, essentially starts all over again, picking up on the time-travel mayhem Travis wreaked a week earlier. [27 Sept 2002, p.59]
    • Newark Star-Ledger
    • 89 Metascore
    • 80 Matt Zoller Seitz
    Nothing in the first few episodes of the new seasons rises to that level of madness [in the first season], but give the show another week or two, and I'm sure it'll get there.
    • 75 Metascore
    • 80 Matt Zoller Seitz
    Boss' mix of deft footwork and bull-in-a-china shop clumsiness can be off-putting, but it's always anchored by Grammer's alternately scary and mournful lead performance, and you're never in doubt that there's a fully formed sensibility behind it.
    • 77 Metascore
    • 80 Matt Zoller Seitz
    What it delivers is something more along the lines of Boardwalk Empire, where the main draw is suspense and bursts of gunfire and torture, undergirded by the low-level dread that comes from not being able to trust most of the characters when they tell you who they are and what side they’re loyal to, and wondering when, not if, the other shoe will drop.
    • 58 Metascore
    • 80 Matt Zoller Seitz
    The whole cast is pretty much perfect for the story Shades of Blue is trying to tell. Lopez makes a fine lead--she's tough and unsentimental here, and even though they've made her look gorgeous, you don't necessarily think of her as a glamorous character. But it's Liotta's show.
    • 89 Metascore
    • 80 Matt Zoller Seitz
    The problem isn’t the sentiments but the clunky way they’re expressed--as if the writers are reserving the good dialogue for the regulars, along with the empathy.... The missteps are easy to forgive because, in content as well as form, ­Orange is a modestly revolutionary show.
    • 46 Metascore
    • 80 Matt Zoller Seitz
    A welcome surprise - an unabashed melodrama that doesn't wink at the audience but doesn't take itself too seriously, either. Every choice it makes, from pacing to photography to music, seems just about right, and the casting is inspired. (I appreciate that it filled its lead roles with two young men who are somewhat credible on the court.) [23 Sept 2003, p.43]
    • Newark Star-Ledger
    • 74 Metascore
    • 80 Matt Zoller Seitz
    The cop stuff feels like it could be happening in any other NBC cop show; I kept expecting Prime Suspect's Maria Bello to show up in that cute hat. But given the originality on display, and the venue, those are minor complaints.
    • 71 Metascore
    • 80 Matt Zoller Seitz
    The second season of this faux-reality series about the misadventures of sitcom star Valerie Cherish (Lisa Kudrow) injects the oft-misapplied adjective “uncompromising” with corrosive new life.
    • 79 Metascore
    • 80 Matt Zoller Seitz
    The series tells hard, funny truths about marriage and parenting that often escape notice in other stories - truths which suggest that writer-creator-producer Marc Cherry and his collaborators have actually taken the time to understand the people they're satirizing. [2 Oct 2004]
    • Newark Star-Ledger
    • 76 Metascore
    • 80 Matt Zoller Seitz
    There were several very strong bits, but the best was Oliver's rant about the U.S. media's disinterest in the Indian elections.... At this point, my main complaint about the show is that it's not an hour.
    • 76 Metascore
    • 80 Matt Zoller Seitz
    The first few episodes sent out for review are the most satisfying to date. Season three moves away from the colorful but ultimately tedious power-tripping of seasons one and two--Frank Underwood is underestimated; Frank Underwood wins; yay, Frank!--and becomes more of a political procedural.
    • 88 Metascore
    • 80 Matt Zoller Seitz
    It's an absurdist comedy about criminal behavior and suburban life that gently mocks its targets while taking its characters and their emotions seriously. [9 Jan 1999, p.23]
    • Newark Star-Ledger
    • 75 Metascore
    • 80 Matt Zoller Seitz
    There are times when you get so wrapped up in the private despair and public pettiness of Madeline, Renata, Celeste, Jane & Co. that when the series reminds itself to tend to its crime-puzzle elements, it suddenly seems less special. Big Little Lies is still a must-see because of its extraordinary actors, all of whom bring either new shadings to the sorts of characters they’ve played brilliantly before or show new sides of their talent.
    • 69 Metascore
    • 80 Matt Zoller Seitz
    However things shake out, USA should feel good about having made an investment in what seems, for the moment, like a work of real science-fiction, rather than science-fiction-flavored action or horror--a work of ideas and real emotion, with strong performances (it's nice to see Holloway playing scared and overwhelmed at times) and a keen grasp of which storytelling cards to play and which to keep in reserve.
    • 73 Metascore
    • 80 Matt Zoller Seitz
    There's nothing formally or dramatically groundbreaking about it, except for its "no big deal" attitude. But that in itself is striking. It should be counted as progress. That Looking doesn't seem to be terribly concerned with words like progress should count as progress, too.
    • 83 Metascore
    • 80 Matt Zoller Seitz
    The melodrama is deliciously engrossing and occasionally wrenching--two episodes in the middle of season three may empty local Rite-Aids of Kleenex--but in the end, it's a light series: "light" as in the opposite of dark, not insubstantial; warm, hopeful, inspiring.
    • 82 Metascore
    • 80 Matt Zoller Seitz
    It’s not rushing us to the next plot point. It’s content to be present. It breathes.
    • 79 Metascore
    • 80 Matt Zoller Seitz
    The Hour has never pretended to be anything other than a very classy potboiler filled with attractive people, one that puts its heroes into predicaments that wouldn't be out of place in a silent film while sneaking social and historical commentary into the margins.
    • 88 Metascore
    • 80 Matt Zoller Seitz
    [A] clever, at times tricky season opener. In Lost-like style, it strategically withholds key information that would help us make immediate sense of Don’s behavior, which by turns suggests a prisoner, a sleepwalker, and a ghost.
    • 81 Metascore
    • 80 Matt Zoller Seitz
    The show loses steam when it leaves Elliot to concentrate on other characters, many of whom speak in grad-student aphorisms about power and delusion.... But the result is still riveting, sinister fun. Mr. Robot has a bouncy energy and an exhilarating sense of verbal, visual, and musical play that makes its bleakness palatable.
    • 79 Metascore
    • 80 Matt Zoller Seitz
    This isn’t a story show, it’s a vibe show, simply told but not simplistic, confident but not overbearing. It’s a pleasure to enter this world, a pleasure to watch these magnetic actors ping-ponging the dialogue, a pleasure to watch McGuigan’s camera float through Stokes’s nightclub, a pleasure to see Colter posed against skylines like an onyx god.

Top Trailers