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 Futurama: Season 10
Lowest review score: 0 Criminal Minds: Suspect Behavior: Season 1
Score distribution:
  1. Negative: 25 out of 285
285 tv reviews
    • 73 Metascore
    • 80 Matt Zoller Seitz
    There's nothing formally or dramatically groundbreaking about it, except for its "no big deal" attitude. But that in itself is striking. It should be counted as progress. That Looking doesn't seem to be terribly concerned with words like progress should count as progress, too.
    • 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.
    • 82 Metascore
    • 80 Matt Zoller Seitz
    It’s not rushing us to the next plot point. It’s content to be present. It breathes.
    • 79 Metascore
    • 80 Matt Zoller Seitz
    The Hour has never pretended to be anything other than a very classy potboiler filled with attractive people, one that puts its heroes into predicaments that wouldn't be out of place in a silent film while sneaking social and historical commentary into the margins.
    • 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.
    • 68 Metascore
    • 80 Matt Zoller Seitz
    It's grindhouse and art house, and it carries itself as if it doesn't give a damn what you think of it. And its infuriating push-pull quality is still fascinating.
    • 71 Metascore
    • 80 Matt Zoller Seitz
    Armisen and Browstein's masterstroke is showing how certain flavors of modern leftist sensitivity/engagement can seem (to outsiders) like passive-aggressive self-absorption laced with contempt for the unenlightened.
    • 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.
    • 89 Metascore
    • 80 Matt Zoller Seitz
    Raylan Givens is off his game, but Justified is as sharp as ever.
    • 67 Metascore
    • 80 Matt Zoller Seitz
    A series whose undercurrent of fatalism might be unpleasant if the characters weren’t so corrosively funny.
    • 58 Metascore
    • 80 Matt Zoller Seitz
    It's the kind of work that I like to classify as "deep shallow," in that it deals in familiar tropes and simple themes but articulates them in a clever, stylish way.
    • 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.
    • 68 Metascore
    • 80 Matt Zoller Seitz
    Pan Am is nostalgic bonbons for the mind, made with the finest ingredients.
    • 80 Metascore
    • 80 Matt Zoller Seitz
    It's still the sort of show that makes you reach out to it, rather than reaching out to you--a characteristic that Treme shares with a good many of its characters, a mostly obsessive and intractable bunch who are inclined to monologues about art, work, family, mortality, and the characteristics of the perfect po-boy.
    • 80 Metascore
    • 80 Matt Zoller Seitz
    You can't just watch this series. You have to commit to it, the way you had to commit to "The Wire" or "Deadwood" to appreciate them as something other than impenetrable fetish objects. Bear in mind I'm not saying that Game of Thrones is a creative achievement on the same level as those other masterful HBO series, which looked, moved and felt like nothing that had come before.
    • 79 Metascore
    • 80 Matt Zoller Seitz
    For all its comedy, this is a serious show, one that’s keenly attuned to the damage that women do to other women, and that men and women do to one another, and that the state does to its people before, during and after they go to prison.
    • 74 Metascore
    • 80 Matt Zoller Seitz
    This is one hell of a debut, and the last seven minutes are brilliant, hitting emotional notes that you might not expect.
    • 86 Metascore
    • 80 Matt Zoller Seitz
    Masters of Sex is an intelligent, assured drama that gets better and better as it goes along.
    • 90 Metascore
    • 80 Matt Zoller Seitz
    Louis-Dreyfus is her usual Swiss-watch self, so confident that she seems to glide through her scenes.
    • 65 Metascore
    • 80 Matt Zoller Seitz
    Mom is about shtick, and it has hired a core group of actors who know how to do it.... The whole cast is just about perfect.
    • 74 Metascore
    • 80 Matt Zoller Seitz
    It's probably a mite too ridiculous for the dire tone it sometimes affects, but it's confident, verging on brazen, and one tends to respect that quality in entertainment.
    • 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.
    • 76 Metascore
    • 80 Matt Zoller Seitz
    Thanks partly to the writing, but mostly to Elba's performance, Luther rarely comes off as one of those swaggering CBS crime-show smarty-pantses, dumping wisdom on subordinates--and that's good, because even at its sharpest, Luther feels a bit too CBS for my taste.
    • 69 Metascore
    • 80 Matt Zoller Seitz
    The process of self-discovery is right upfront in Taking on Tyson, and it's fascinating.
    • 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.
    • 74 Metascore
    • 80 Matt Zoller Seitz
    These three new episodes, which premiered in Britain last year, are engaging, tasteful and very well-made.
    • 80 Metascore
    • 80 Matt Zoller Seitz
    The most stylistically innovative comedy to hit American television since HBO's great, barely seen "The Larry Sanders Show" ... It's also the most squirm-inducing look at everyday deceit that I've seen outside of an Albert Brooks or Woody Allen movie. [14 Oct 2000]
    • Newark Star-Ledger
    • 78 Metascore
    • 80 Matt Zoller Seitz
    It still feels, moves, and thinks like the Community you know. It has changed, yet it hasn’t. Its essence remains.
    • 65 Metascore
    • 80 Matt Zoller Seitz
    For the most part, this is a light, bouncy service comedy in the spirit of The Phil Silvers Show, Gomer Pyle, USMC, and Stripes, It's a high jinks–heavy but psychology-driven show that wants to please a general audience while also seeming halfway credible to viewers who've served in the armed forces or know somebody who has.
    • 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.

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