Matt Zoller Seitz

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For 410 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 0.1 points lower than other critics. (0-100 point scale)

Matt Zoller Seitz's Scores

Average review score: 67
Highest review score: 100 Samurai Jack: Season 5
Lowest review score: 0 Criminal Minds: Suspect Behavior: Season 1
Score distribution:
  1. Negative: 31 out of 410
410 tv reviews
    • 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.
    • 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
    • 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).
    • 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.
    • 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]
    • Newark Star-Ledger
    • 78 Metascore
    • 40 Matt Zoller Seitz
    The film version of Cranston's LBJ only comes to life when he's listening to other characters or silently brooding to himself (while voice-over narration articulates his fears and doubts); otherwise he's a Madam Tussaud's waxworks LBJ that can move and speak, a testament to latex craftsmanship and the careful study of newsreels. The bigger his LBJ is in this film, the less credible and interesting he is.
    • 76 Metascore
    • 40 Matt Zoller Seitz
    You never get the sense that the filmmaker is pushing beyond prurient interest to uncover a deeper truth, much less discovering something within the subject that makes him seem theoretically redeemable, or at least recognizably human.
    • 76 Metascore
    • 60 Matt Zoller Seitz
    While the first four episodes of this series go a long way towards re-imagining its inspiration, I wish it had thought harder and found the courage to be even wilder and weirder.
    • 75 Metascore
    • 50 Matt Zoller Seitz
    Problem is, these same episodes lurch between nuanced observation of real-world trivialities and goofy sketch comedy exaggeration, and their flashes of spiky personality don't alleviate the feeling that, content-wise, the show is stuck in that regrettably familiar commercial cable bind: not safe, exactly, but not dangerous, either.
    • 74 Metascore
    • 50 Matt Zoller Seitz
    Cinema Verite is smart and often moving, but unsatisfying overall.
    • 74 Metascore
    • 60 Matt Zoller Seitz
    The movie is better than you've heard but not good enough to linger in the mind.
    • 73 Metascore
    • 50 Matt Zoller Seitz
    This is a slight but watchable show, yet more brain candy from CBS's vending machine.
    • 73 Metascore
    • 60 Matt Zoller Seitz
    Arrow is sincere and energetic but visually undistinguished.
    • 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.
    • 73 Metascore
    • 40 Matt Zoller Seitz
    This one lacks the original’s intuitive sense of rhythm and organization, and often seems more scattered and digressive than multilayered. And instead of letting feminist themes emerge organically from its situations, it stuffs them into every nook and cranny of every scene, mostly via dialogue instead of the sorts of hypnotically intense, even primal images that distinguished the original.
    • 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.
    • 72 Metascore
    • 50 Matt Zoller Seitz
    The show strikes a particular note with great variety, but there are 87 other notes on a keyboard and you start to miss hearing them.
    • 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]
    • Newark Star-Ledger
    • 71 Metascore
    • 60 Matt Zoller Seitz
    More troubling is the show's undercurrent of utter confidence, which sits uncomfortably with the clunky drama and borrowed style onscreen. Its best moments are carried by the actors; its worst might give you the disquieting impression that the makers of Gotham think you'll watch pretty much anything if the characters have the same names as characters from the DC universe.
    • 71 Metascore
    • 50 Matt Zoller Seitz
    In its second season it's a wisecracking caper series with glossy B-movie production values, an appealing cast, an overlay of global espionage fantasy, and action scenes so inventively choreographed that you can almost forgive their cliched shaky-cam imagery and "What the hell just happened?" editing. And that's it.
    • 71 Metascore
    • 60 Matt Zoller Seitz
    The movie feels too long, padded even, but its relaxed vibe and non-cloying tone are a tonic.
    • 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.
    • 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
    • 60 Matt Zoller Seitz
    At its best, Billions gives a game cast plenty of extreme situations to wrap their talents around and reams of tricky dialogue to deliver. And it certainly does have its moments, mainly when it shifts its spotlight to supporting players like Breaking Bad’s David Constabile (as Bobby’s iceberg-cool right-hand man) and Boardwalk Empire’s Glenn Feshler (as a former law professor pulling down a grand an hour working for Axelrod).
    • 69 Metascore
    • 50 Matt Zoller Seitz
    As was the case with the first two seasons of The Killing, this new one takes its sweet, sweet time getting going, and as it slowly gains momentum, it carries itself as if it's the greatest series in the history of American television, single-handedly reinventing the police procedural for the 21st century.
    • 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.
    • 69 Metascore
    • 40 Matt Zoller Seitz
    The behind-the-scenes story that Jonrosh lays out for us is, alas, more amusing, even sight-unseen, than anything in the story proper.... What we do see is curiously tone-deaf and rarely pays off as you hope it will.
    • 69 Metascore
    • 40 Matt Zoller Seitz
    Unfortunately, too much of the show is taken up by the usual Kelley stupidity. [1 Oct 2004]
    • Newark Star-Ledger
    • 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
    In general, the more The Get Down trusts in its actors to carry the meaning of a moment or scene, the better it is.

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