Matt Zoller Seitz

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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 Mildred Pierce: Season 1
Lowest review score: 0 Criminal Minds: Suspect Behavior: Season 1
Score distribution:
  1. Negative: 30 out of 386
386 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
    • 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
    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
    • 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
    • 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
    • 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
    • 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.

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