Matt Zoller Seitz

Select another critic »
For 343 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 points lower than other critics. (0-100 point scale)

Matt Zoller Seitz's Scores

Average review score: 66
Highest review score: 100 Six by Sondheim
Lowest review score: 0 Liz & Dick
Score distribution:
  1. Negative: 28 out of 343
343 tv reviews
    • 70 Metascore
    • 50 Matt Zoller Seitz
    Red Oaks doesn't have a whole lot in the way of plot, and I don't get the feeling it's pretending that it does. But season one (which I've seen most of) still feels repetitive.... There's a gently mocking sensibility in some of the comedy bits, and it's quite pleasing. And the performances settle into a nice, relaxed groove, particularly Reiser’s.
    • 57 Metascore
    • 50 Matt Zoller Seitz
    Wilfred is much more pleasant and consistently enjoyable than Falling Skies, but that might be because the stakes are much lower.
    • 68 Metascore
    • 50 Matt Zoller Seitz
    Despite very slight improvements, this series still seems deluded as to what it is and blind to what it could become.
    • 69 Metascore
    • 50 Matt Zoller Seitz
    The script and direction could both use a jolt of crazy energy of the sort that made Precious so thrilling (or, if you didn’t like it, unbearable).
    • 69 Metascore
    • 50 Matt Zoller Seitz
    It’s not a terrible show. But it’s missing that unharmonious Harmon-ian spark of madness, that smiling volatility that made the show exciting (for fans) even when a line or scene or whole episode wasn’t quite working.
    • 69 Metascore
    • 50 Matt Zoller Seitz
    The problem is, once you get past the initial shock of a fresh premise and start watching the pilot, the show starts to seem more formulaic, with stock characters (mostly female, alas) and what sounds like placeholder dialogue that was supposed to filled in with good stuff later but wasn't.
    • 52 Metascore
    • 50 Matt Zoller Seitz
    Married, for all its frank sex and salty language and disinterest in being loved and indie-film handheld camerawork, is really not all that different from the three-camera network usual, and way too much in love with its leading male character's supposed lovable-ness, considering how shallow he is.
    • 64 Metascore
    • 50 Matt Zoller Seitz
    Nothing in this pilot is as compelling as the idea for the show, which begs philosophical and ethical questions that Spielberg and company (for now, at least) aren't interested in addressing.
    • 63 Metascore
    • 50 Matt Zoller Seitz
    For every tired element, there are lovely, even mysterious touches.... Emotionally, I'm not sure that a lot of Satisfaction makes sense at all, but a certain strain of dream logic holds it together.
    • 73 Metascore
    • 50 Matt Zoller Seitz
    This is a slight but watchable show, yet more brain candy from CBS's vending machine.
    • 63 Metascore
    • 50 Matt Zoller Seitz
    Despite its refreshing commitment to realism, Doll & Em is ultimately too relaxed and meandering for its own good. There are times when you may wish it had embraced the occasional cliches with more gusto.
    • 41 Metascore
    • 50 Matt Zoller Seitz
    Mr. Robinson is not great, not bad; it’s just okay.
    • 63 Metascore
    • 50 Matt Zoller Seitz
    What's on the screen is a likable but dumb TV version of what the film scholar David Bordwell calls a "network narrative."
    • 57 Metascore
    • 50 Matt Zoller Seitz
    NYC 22 isn't the best or worst show you'll ever see.
    • 65 Metascore
    • 50 Matt Zoller Seitz
    It's reasonably clever and well acted and has strong atmosphere and a few good scares, and the concept--a found-footage voyage into the Amazon to locate a mysteriously MIA scientist--is catchy. But the format of the show may prove a dealbreaker for me.
    • 66 Metascore
    • 50 Matt Zoller Seitz
    I’m torn between condemning the series for piggybacking on a classic and promising an origin story it doesn’t really care to deliver, and praising it for avoiding the homicidal Muppet Babies formula and pulling a pretty brazen bait-and-switch.
    • 54 Metascore
    • 50 Matt Zoller Seitz
    The creative failure of Growing Up Fisher is more distressing than the missteps of About a Boy because there would seem to be so much more potential there. These are characters that, in theory, you haven't seen before, but the show makes them feel too familiar.
    • 66 Metascore
    • 50 Matt Zoller Seitz
    It’s too dour and grim sometimes, and other times too blithe and safe.
    • 49 Metascore
    • 50 Matt Zoller Seitz
    All the actors are spot-on, even ones who have just a few scenes. It's a pity Kayla Alpert's script and Deborah Chow's direction don't do their collaborators justice.
    • 73 Metascore
    • 50 Matt Zoller Seitz
    Orphan Black is a cool, clever show, and I don’t discount the possibility that it could become great, or at least excellent; but for now, both its tone and its premise seem worrisomely limited.
    • tbd Metascore
    • 40 Matt Zoller Seitz
    I missed two seasons of this show but was able to jump right into it again as if it were a "Law and Order" spinoff. That would be OK if it weren't so painfully obvious that Californication aspires to be more than just a passively entertaining time-waster (or even an actively entertaining one like "Dream On").
    • 51 Metascore
    • 40 Matt Zoller Seitz
    Besides Sands's performance as Dash, a likably frazzled ingenue who hurls himself bravely into action but has no physical skills to speak of, the production design is the best (maybe only) reason to watch Minority Report.
    • 60 Metascore
    • 40 Matt Zoller Seitz
    If the show were badly directed, photographed, edited, and acted, at least you could have fun laughing at it, but everyone’s working so hard to put across unremarkable material that the best one can manage is a kind of exhausted empathy.
    • 53 Metascore
    • 40 Matt Zoller Seitz
    http://www.vulture.com/2014/10/tv-review-cbss-the-mccarthys.html
    • 59 Metascore
    • 40 Matt Zoller Seitz
    Legends makes a grand show of setting up a tortuous, vaguely Don Draper–like interior journey for our lone-wolf hero--in the pilot, he's stalked by a shadowy figure who intimates that Martin doesn't know all there is to know about his true self--but the character is such a pile of overworked cop-show and spy-show elements (he's in too deep, he's a cranky and sarcastic maverick who resents authority, his work destroyed his marriage, etc.), that there's not much to him beyond the charisma that Bean naturally brings.
    • 54 Metascore
    • 40 Matt Zoller Seitz
    The problem is that at no point during the first couple of episodes does the show truly come alive as a drama about actual people inhabiting a convincing fictional space. It doesn't pulse with life, as any series defined mainly through its actions ought to. And when action does happen, it's disappointingly personality-free.
    • 63 Metascore
    • 40 Matt Zoller Seitz
    Thankfully, both Hagman and Duffy are still around and alert, and their presence holds this new, mostly disappointing Dallas together.
    • 29 Metascore
    • 40 Matt Zoller Seitz
    Despite the general mediocrity of the show's dialogue, these are potentially endearing comic characters played by (mostly) excellent comic actors.
    • 62 Metascore
    • 40 Matt Zoller Seitz
    The characters are so TV cute (and in some cases TV pretty) and the storytelling so mechanical, that I couldn't give myself over to it either way.
    • 47 Metascore
    • 40 Matt Zoller Seitz
    The plot has a few moments designed to reassure us that Emily is a competent grown-up who's good at her job, but for the most part, she comes off as a bland, clueless, simpering person who doesn't realize how accomplished (and privileged) she is.

Top Trailers