Matt Zoller Seitz
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For 285 reviews, this critic has graded:
  • 45% higher than the average critic
  • 3% same as the average critic
  • 52% 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: 65
Highest review score: 100 Game of Thrones: Season 4
Lowest review score: 0 Dads: Season 1
Score distribution:
  1. Negative: 25 out of 285
285 tv reviews
    • 73 Metascore
    • 80 Matt Zoller Seitz
    Outlander is never more engrossing than when a scene emphasizes Claire's reactions as she's forced to decide whether to say what she really thinks of a man's behavior or assertion or recitation of policy, or err on the side of silence.
    • 70 Metascore
    • 80 Matt Zoller Seitz
    This is also a lovingly wrought series. Every frame is intelligently composed, lit, and decorated, every camera move is purposeful and sometimes startling.
    • 78 Metascore
    • 80 Matt Zoller Seitz
    Students of Marshall's life and times won't find any new information here, but the personal shadings are crucial because they humanize what might otherwise have been dry textbook details. Stevens and Fishburne find a strong emotional through-line for Marshall's greatest triumphs: the desire to right injustices visited upon Marshall, his family and his people.
    • 75 Metascore
    • 80 Matt Zoller Seitz
    Far From Finished isn’t an instant classic on the order of Bill Cosby: Himself or his stand-up albums Revenge, Why Is There Air?, and Wonderfulness. It’s more like a pencil sketch by a master painter or a late film by Woody Allen or Clint Eastwood.
    • 71 Metascore
    • 80 Matt Zoller Seitz
    Review is more of an experience than a statement; if you ask yourself, "What's the point?" you'll probably never get an answer, and you'll miss out on the agonizing pleasure of this most unusual series, which imports a style of TV comedy that was perfected in the United Kingdom and its far-flung colonies, and somehow Americanizes it without snuffing its daft spark.
    • 85 Metascore
    • 80 Matt Zoller Seitz
    It feels lived-in, confident. That's a good sign.
    • 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.
    • 78 Metascore
    • 80 Matt Zoller Seitz
    The result is a conventional drama lit, shot, and edited with maximum cinematic oomph, in ways that tease out or add meanings that might not have been carried by dialogue and performance alone.
    • 66 Metascore
    • 80 Matt Zoller Seitz
    I expected it to be yet another R-rated historical soap with an overqualified cast. It's that. (The series is co-executive produced by ... wait a second ... Michael Hirst? Not him again!) But it's also good. And addictive--not just because of the blood-and-boobs aspects, but because it takes you inside an unfamiliar world and shows you how it works.
    • 74 Metascore
    • 80 Matt Zoller Seitz
    He has a light touch, and his camera's gaze is warm and kind. This movie is knowing, and sometimes ruefully ironic, without ever seeming smug.
    • 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.
    • 70 Metascore
    • 80 Matt Zoller Seitz
    Live Another Day's drone story extends Bush-era mechanized warfare into the age of Obama. It's another example of 24's knack for mixing left- and right-wing assumptions into a ferocious action film cocktail.... Welcome to one more day.
    • 76 Metascore
    • 80 Matt Zoller Seitz
    Girls is well aware of the conundrum Hannah and Adam and other characters are trapped in--we're all trapped in it, to some degree--and it has sense enough to let us figure this, and a lot of other things, out for ourselves.
    • 74 Metascore
    • 80 Matt Zoller Seitz
    Family Tree is less belly-laugh funny than wry and occasionally poignant.
    • 63 Metascore
    • 80 Matt Zoller Seitz
    Smash got the memo from viewers. I don’t think they read all of it, necessarily, but at least they got it, and they’ve changed just enough to raise the series from a C+ to a B. So: progress.
    • 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.
    • 69 Metascore
    • 80 Matt Zoller Seitz
    It's magisterially trashy: sweet, glorious madness.
    • 78 Metascore
    • 80 Matt Zoller Seitz
    The Americans might take a while to find its footing--most shows do; but it already has a personality, a pulse of life.
    • 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.
    • 77 Metascore
    • 70 Matt Zoller Seitz
    There's a lot to like in these first two episodes: Dana and Jessica's scenes have greater psychological weight than before, thanks to Brody's absent presence, though they do raise the uncomfortable question of how interested we need to be now that the family isn't directly connected to the show's central institution anymore (the Betty Draper problem on Mad Men). The episodes also give us a clear, at times unnerving sense of how hard it must be for somebody as gifted but volatile as Carrie to work in such a button-down environment, and how easy it must be to write her off as merely unstable or merely crazy.
    • 62 Metascore
    • 70 Matt Zoller Seitz
    The show is a compendium of high-octane clichés, just clever enough that you can't call it stupid and just stupid enough that you can't call it clever.... There are three saving graces. One is the premise, which is enjoyably ludicrous.... The second saving grace is the multicultural cast and international flavor.... The third saving grace, certainly not to be underestimated, is Luna, who's got a marvelous Everyman quality.
    • 70 Metascore
    • 70 Matt Zoller Seitz
    As sitcoms about talented, self-defeating assholes go, though, Maron is pretty good, though it has yet to plumb the sublime depths of self-loathing showcased on the likes of Louie, Girls, and Veep.
    • 72 Metascore
    • 70 Matt Zoller Seitz
    Quality-wise, it's closer to Child's Play 2 or The Kiss than it is to Re-Animator--which truly is awesome, as anyone who's seen it will testify--but I love the fact that The Strain seems to be trying to evoke these sorts of better-than-government-work horror midnight time-wasters.
    • 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.
    • 68 Metascore
    • 70 Matt Zoller Seitz
    Political comedies tend to work best when they're absurdist (like Duck Soup, or HBO's Veep) or much, much subtler (the gold standard being Tanner '88, a collaboration between Trudeau and Robert Altman). Alpha House falls somewhere in the middle and gets stranded there, though the company is so likable that it's a limbo you may not mind being stranded in.
    • 74 Metascore
    • 70 Matt Zoller Seitz
    It's good again. Not great, but good: smarter than you expect, more patient with its storytelling, less interested in the characters' plotting and counter-plotting than in their often miserable inner lives.
    • 74 Metascore
    • 70 Matt Zoller Seitz
    Living in the Material World foregrounds [George Harrison's] qualities so pointedly that it seems to be channeling the personality of its subject. It's a problematic, at times off-putting, but ultimately fascinating work, moving through George's life with its own mysterious internal logic.
    • 66 Metascore
    • 70 Matt Zoller Seitz
    It's TV designed for people who watch a lot of TV and know a lot of TV, and aren't necessarily coming into Wayward Pines to be stunned by its novelty but to see if a group of talented actors, writers, and filmmakers can stitch a crazy quilt of influences into something coherent and pleasurable. They do. But it takes a while.
    • 69 Metascore
    • 70 Matt Zoller Seitz
    An unsteady but very likable debut. ... That's about as good as anyone can expect from a talk show that debuted on Martin Luther King Jr. Day, and that's going to spend the next few weeks or months perfecting itself while shouldering the burden of immense and mostly unreasonable expectations.
    • 48 Metascore
    • 70 Matt Zoller Seitz
    This is still a charming series, and the cast gets plenty of mileage out of the role-reversal at the show’s heart.

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