Matt Zoller Seitz

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For 389 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 0.3 points lower than other critics. (0-100 point scale)

Matt Zoller Seitz's Scores

Average review score: 66
Highest review score: 100 Legion: Season 1
Lowest review score: 0 Liz & Dick
Score distribution:
  1. Negative: 30 out of 389
389 tv reviews
    • 76 Metascore
    • 80 Matt Zoller Seitz
    There were several very strong bits, but the best was Oliver's rant about the U.S. media's disinterest in the Indian elections.... At this point, my main complaint about the show is that it's not an hour.
    • 76 Metascore
    • 80 Matt Zoller Seitz
    The first few episodes sent out for review are the most satisfying to date. Season three moves away from the colorful but ultimately tedious power-tripping of seasons one and two--Frank Underwood is underestimated; Frank Underwood wins; yay, Frank!--and becomes more of a political procedural.
    • 88 Metascore
    • 80 Matt Zoller Seitz
    It's an absurdist comedy about criminal behavior and suburban life that gently mocks its targets while taking its characters and their emotions seriously. [9 Jan 1999, p.23]
    • Newark Star-Ledger
    • 75 Metascore
    • 80 Matt Zoller Seitz
    There are times when you get so wrapped up in the private despair and public pettiness of Madeline, Renata, Celeste, Jane & Co. that when the series reminds itself to tend to its crime-puzzle elements, it suddenly seems less special. Big Little Lies is still a must-see because of its extraordinary actors, all of whom bring either new shadings to the sorts of characters they’ve played brilliantly before or show new sides of their talent.
    • 69 Metascore
    • 80 Matt Zoller Seitz
    However things shake out, USA should feel good about having made an investment in what seems, for the moment, like a work of real science-fiction, rather than science-fiction-flavored action or horror--a work of ideas and real emotion, with strong performances (it's nice to see Holloway playing scared and overwhelmed at times) and a keen grasp of which storytelling cards to play and which to keep in reserve.
    • 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.
    • 81 Metascore
    • 80 Matt Zoller Seitz
    The show loses steam when it leaves Elliot to concentrate on other characters, many of whom speak in grad-student aphorisms about power and delusion.... But the result is still riveting, sinister fun. Mr. Robot has a bouncy energy and an exhilarating sense of verbal, visual, and musical play that makes its bleakness palatable.
    • 79 Metascore
    • 80 Matt Zoller Seitz
    This isn’t a story show, it’s a vibe show, simply told but not simplistic, confident but not overbearing. It’s a pleasure to enter this world, a pleasure to watch these magnetic actors ping-ponging the dialogue, a pleasure to watch McGuigan’s camera float through Stokes’s nightclub, a pleasure to see Colter posed against skylines like an onyx god.
    • 71 Metascore
    • 80 Matt Zoller Seitz
    The Grinder has fun with the concept, kicking it around with wry contempt, then picking it up off the ground and dusting it off and studying it for a moment, then deciding it might be a fun challenge to see if they can make people care about a character, and a concept, that's not only played out but stomped flat.
    • 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.
    • 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.
    • 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.

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