Matt Zoller Seitz

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For 460 reviews, this critic has graded:
  • 48% higher than the average critic
  • 3% same as the average critic
  • 49% lower than the average critic
On average, this critic grades 0.3 points lower than other critics. (0-100 point scale)

Matt Zoller Seitz's Scores

Average review score: 67
Highest review score: 100 The Americans: Season 6
Lowest review score: 0 Criminal Minds: Suspect Behavior: Season 1
Score distribution:
  1. Negative: 34 out of 460
460 tv reviews
    • 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
    • 98 Metascore
    • 100 Matt Zoller Seitz
    A masterful two-hour finale to an already exceptional program. [21 Oct 2004]
    • Newark Star-Ledger
    • 98 Metascore
    • 100 Matt Zoller Seitz
    Superb final season of The Leftovers. ... Suffice to say that Lindelof, Perrotta & Co. have continued to think about ways to make the fantastic seem mundane and vice versa.
    • 97 Metascore
    • 100 Matt Zoller Seitz
    Atlanta is the warped reflection that an absurd country deserves. ... Few shows are as good at building to dizzying heights of weirdness without clueing you in that anything out of the ordinary is happening. Fewer still have such an astute grasp of how mobile devices and internet connections have allowed everyone of every social class, race, and ethnicity to compulsively document their lives.
    • 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.
    • 95 Metascore
    • 80 Matt Zoller Seitz
    Contemporary TV is suddenly filled with shows starring charismatic yet ostentatiously flawed heroines: Homeland, The Mindy Project, Girls, Don't Trust the B---- in Apartment 23. Enlightened stands out because its vision is so much wider.
    • 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.
    • 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.
    • 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
    • 94 Metascore
    • 100 Matt Zoller Seitz
    Louie is the anti–Anger Management: bizarre, inventive, and bold.
    • 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.
    • 93 Metascore
    • 100 Matt Zoller Seitz
    The greatest dramatic series in the history of American television. [6 Mar 2005, p.1]
    • Newark Star-Ledger
    • 92 Metascore
    • 100 Matt Zoller Seitz
    If watching a TV show is like being in a relationship, The Americans is the closest thing to a domestic partnership that modern TV drama has ever given us. ... The actors simply do whatever their characters would do in that situation, and the camera watches them. Not a single shot calls attention to itself. ... But you can’t exactly claim that things were left unsaid, because you read this couple’s faces like words on a page.
    • 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.
    • 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.
    • 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.
    • 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.
    • 91 Metascore
    • 100 Matt Zoller Seitz
    The new batch of Master of None episodes is on my short list for scripted show of the year. ... Season two hones the show’s distinct cultural vision and adds stylistic heft.
    • 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.
    • 91 Metascore
    • 90 Matt Zoller Seitz
    Sherlock is a wonderful series. Just thinking about it makes me smile.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    • 90 Metascore
    • 80 Matt Zoller Seitz
    For the most part, Murphy & Co. are content to mine this familiar material for pathos and corrosive satire. There isn’t a bad performance anywhere in this production, and while a few of them fail to rise above the level of a very good imitation (Travolta’s Shapiro is all sculpted eyebrows, puckered smirks, and constricted body language), most of them go far beyond that.
    • 90 Metascore
    • 90 Matt Zoller Seitz
    The risk in this kind of show is that viewers will complain that “nothing happens,” but that never feels like the case here because Rae and her co-stars shape every scene into a perfectly formed bit of social interaction, built around a core of conflict, but with fascinating bits of business happening in the margins.
    • 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.
    • 90 Metascore
    • 90 Matt Zoller Seitz
    Hour for hour, it’s one of the best things I’ve seen on TV this year--but because it frequently comes so close to becoming not just impressive but important, challenging, even agenda-setting. But it never quite pushes itself over that line.
    • 90 Metascore
    • 80 Matt Zoller Seitz
    Louis-Dreyfus is her usual Swiss-watch self, so confident that she seems to glide through her scenes.
    • 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.
    • 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.
    • 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.
    • 89 Metascore
    • 80 Matt Zoller Seitz
    Raylan Givens is off his game, but Justified is as sharp as ever.
    • 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.
    • 89 Metascore
    • 80 Matt Zoller Seitz
    Anybody who was inspired and moved by Shandling’s work won’t complain about being able to luxuriate in this exhaustive account. Even the slack portions are intriguing because of the access Apatow has to the records of Shandling’s time on Earth.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    • 70 Matt Zoller Seitz
    [The first three episodes] contain no evidence that it'll rival or exceed season four, an intricately wrought and unexpectedly spare and bluesy batch of hours whose quality exceeded anything that Terence Winter's gangster saga had given us in seasons one through three.
    • 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.
    • 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
    • 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
    • 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.
    • 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
    • 87 Metascore
    • 80 Matt Zoller Seitz
    It's the most engrossing cop series since season one of NBC's Homicide, and maybe the most raggedy and real.
    • 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.
    • 87 Metascore
    • 100 Matt Zoller Seitz
    A triumph of writing, directing, and acting.
    • 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
    • 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.
    • 86 Metascore
    • 80 Matt Zoller Seitz
    For the most part, though, what we see and hear is all we’re allowed to know, and it’s enough, just as the accumulation of moments in a fly-on-the-wall documentary are enough to make us feel for the subjects.
    • 86 Metascore
    • 80 Matt Zoller Seitz
    The comparatively extended length of the enterprise--four hours, versus two hours and 22 minutes for the ’92 film--allows for a detailed and unhurried experience, and the storytellers take advantage of the lengthened timeline, even if they sometimes fail to put emphasis in the right spots. All in all, the new Howards End is a fresh take on an old source, and the longer it goes on, the more different, even special, it gets.
    • 86 Metascore
    • 70 Matt Zoller Seitz
    This feels like a "two steps forward, one step back" storytelling strategy, not unlike what you'd seen in almost any other sitcom that has a rather slight story and needs to pad things out. If not for the droll and frequently profane byplay between Richard, Erlich, and housemates Gilfoyle (Martin Starr), Dinesh (Kumail Nanjiani), and Jared (Zach Woods), Silicon Valley's paralyzed feeling might grate more and feel too obviously like an attempt to run out the show's storytelling clock until the writers can figure out what the next really good move is.
    • 86 Metascore
    • 80 Matt Zoller Seitz
    Masters of Sex is an intelligent, assured drama that gets better and better as it goes along.
    • 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
    • 100 Matt Zoller Seitz
    Legion is the most brazenly inventive series on TV. ... The genre mash-ups that result are often as weird as they are striking, and they delight as art objects even when they do little to advance the story. (I consider it a compliment to the show to say that it doesn’t care all that much about plot; others will not agree.) ... The frustrations and indulgences are all of a piece. This is someone else’s dream. You get to watch it, question it, and sometimes dance to it.
    • 85 Metascore
    • 80 Matt Zoller Seitz
    The pilot can be alienating, and not in a good way. It's often too schematic, too obvious.... The next three episodes get incrementally weirder, stronger, and more original, to the point that you forget to measure this Fargo against its namesake, or against any of the Coens' masterworks, and simply enjoy the odd, sour, frightening, occasionally splendid thing in front of you.
    • 85 Metascore
    • 70 Matt Zoller Seitz
    Despite the best efforts of the writing staff and Gyllenhaal (who became a producer on the series partly to make sure that her character was well served), there are moments when The Deuce seems to lose its grip on the leash of its worldview and the situations take on a hypnotic power that is presumably not meant to be exploitative but comes across that way anyhow. ... Its most salient virtue is its stubborn refusal to serve up any character who represents a supposedly enlightened, 21st-century-liberal point of view.
    • 85 Metascore
    • 80 Matt Zoller Seitz
    It feels lived-in, confident. That's a good sign.
    • 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.
    • 85 Metascore
    • 90 Matt Zoller Seitz
    It doesn’t just have a setting and a story, it has a philosophy and a vision of life. This is so rare in any art form that the show’s less-than-subtle aspects (and there are many) feel like features rather than bugs. ... Loosely based on Simien’s 2014 same-titled independent film but superior to it in almost every way.
    • 85 Metascore
    • 100 Matt Zoller Seitz
    This is one of the year’s very best TV programs, hard as it sometimes is to endure.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 84 Metascore
    • 70 Matt Zoller Seitz
    A lengthy and meticulous, childhood-to-grave account of Elvis’s brief time on Earth. ... The superficiality of the film’s biography makes it feel rushed, even when it’s making a point of lingering (as in the sections on Elvis entering the Army and Elvis becoming a sequined creature of Vegas). ... Still, The Searcher excels when it analyzes the evolution of Elvis’s music and image.
    • 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.
    • 84 Metascore
    • 80 Matt Zoller Seitz
    As adapted, produced and written for the screen by Veena Sud (creator of "Cold Case"), it's a subtle piece of work.
    • 84 Metascore
    • 80 Matt Zoller Seitz
    From scene to scene, Treme is novelistic in the best sense--a long, complex, involving story that takes a while to settle into, but that you can't put down and don't want to end.
    • 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.
    • 84 Metascore
    • 80 Matt Zoller Seitz
    Few series have conveyed such a clear sense of all the different people that black professional women are required to be, and none has done such a fine job of conveying this visually as well as in performance and dialogue.
    • 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.
    • 84 Metascore
    • 80 Matt Zoller Seitz
    NY Med is filled with warm, honest moments--some poignant, others comic--and characters who would be plenty compelling even if they didn't keep revealing surprising new sides.
    • 83 Metascore
    • 80 Matt Zoller Seitz
    As intelligent and considerate as it is, the series has a somewhat repetitious feel until the third episode, which jumps ahead to July 2016, six months into the Chief Johnson’s tenure. From here through the end of the story, Flint Town shows how the mentality of American police is shaped by their personal politics, which in turn are shaped by their consistently unpleasant and sometimes fearful experiences on the job, as well as reactionary and sometimes racist attitudes handed down throughout the inception of modern policing.
    • 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
    • 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.
    • 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.
    • 83 Metascore
    • 80 Matt Zoller Seitz
    The episodes are so briskly paced and the tone so expertly judged that you tend to enjoy it all in the spirit in which it was intended. The show is a jar of bittersweet jelly beans. You can’t eat just one.
    • 83 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 82 Metascore
    • 90 Matt Zoller Seitz
    Delightful. [8 Nov 2001, p.45]
    • Newark Star-Ledger
    • 82 Metascore
    • 90 Matt Zoller Seitz
    The filmmaking gathers all the bits and pieces of the story together and arranges them in ways that are clever, surprising, and so aggressively (and deliberately) self-conscious that there are times when the whole thing gets close to turning into an intellectualized formal exercise. There are times when you might question whether six hours was necessary to tell this particular story--I often wonder that about Netflix productions--but there’s never a moment where Olson or Morris fail to fascinate.
    • 82 Metascore
    • 80 Matt Zoller Seitz
    All in all, this is an impressive piece of work, absorbing provided that you're willing to meet it on its own storytelling terms.
    • 82 Metascore
    • 70 Matt Zoller Seitz
    A lot of this material is hilarious, but it’s hard not to be struck by how dire much of it is.
    • 82 Metascore
    • 80 Matt Zoller Seitz
    It’s not rushing us to the next plot point. It’s content to be present. It breathes.
    • 82 Metascore
    • 70 Matt Zoller Seitz
    There's still a sense that The Walking Dead is shambling along too lackadaisically. Great pulp is propulsive, ruthless. But the show's embrace of "B"-movie values is a heartening sign.
    • 82 Metascore
    • 80 Matt Zoller Seitz
    The Night Manager knows exactly what kind of entertainment it wants to be: escapism with just enough of a dark edge to pass for art. And it stays as focused on its mission as Pine does on his.
    • 81 Metascore
    • 40 Matt Zoller Seitz
    The rise of the new TV anthology, in which the unit of measure is the season rather than the episode, could encourage filmmakers to pore over the cultural history of Hollywood in granular detail. Murphy’s Feud deserves credit for getting there first, but that’s about it.
    • 81 Metascore
    • 90 Matt Zoller Seitz
    It turned out to be an inventively staged production of Andrew Lloyd Webber and Tim Rice’s rock-and-roll gospel, so passionately imagined that it set a new standard for this type of event.
    • 81 Metascore
    • 50 Matt Zoller Seitz
    The Crown never entirely figures out how to make the political and domestic drama genuinely dramatic, much less bestow complexity on characters outside England’s innermost circle (the scenes of Philip and Elizabeth in Kenya, in particularly, are face-palm condescending).
    • 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.
    • 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.

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