Matt Zoller Seitz

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For 420 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 0.2 points lower than other critics. (0-100 point scale)

Matt Zoller Seitz's Scores

Average review score: 67
Highest review score: 100 Game of Thrones: Season 2
Lowest review score: 0 Criminal Minds: Suspect Behavior: Season 1
Score distribution:
  1. Negative: 33 out of 420
420 tv reviews
    • 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.
    • 76 Metascore
    • 80 Matt Zoller Seitz
    It does not feel focus-grouped; sometimes it doesn’t feel second-guessed. Julie and Billy and many of the other characters talk to each other the way best friends talk to each other when they think nobody is listening. Every other scene contains a line that could keep the outrage/apology cycle humming for at least a half-day.
    • 84 Metascore
    • 80 Matt Zoller Seitz
    Few series have conveyed such a clear sense of all the different people that black professional women are required to be, and none has done such a fine job of conveying this visually as well as in performance and dialogue.
    • 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.
    • 56 Metascore
    • 80 Matt Zoller Seitz
    It’s part journalism drama, part Sex and the City-style female bonding comedy with sex and romance; it’s equally interested in being both things at once, to the best of its ability, and damned if it doesn’t pull it off more often than you’d think.
    • 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.
    • 75 Metascore
    • 80 Matt Zoller Seitz
    Queen Sugar takes its sweet time moving through a moment, lingering where other series tend to sprint, and it is generous with its searching close-ups of faces and hands and its images of the Louisiana countryside at dawn and dusk, an enchanted-seeming landscape of furrowed fields and gnarled, kudzu-covered trees. At its most navel-gazing, the show feels like Parenthood by way of Eugene O'Neill. But tell me you don't want to watch something like that.
    • 65 Metascore
    • 80 Matt Zoller Seitz
    Vice News Tonight is an intriguing effort--not new, exactly, but newish. The “hangin’ out doin’ journalism” approach is easy to mock, but this new program is engaging and smart.
    • 74 Metascore
    • 80 Matt Zoller Seitz
    These three new episodes, which premiered in Britain last year, are engaging, tasteful and very well-made.
    • 77 Metascore
    • 80 Matt Zoller Seitz
    American Gods is deliberately disjointed, like tracks on an album. There are times when the show seems more interested in parsing ephemeral moments in the here-and-now than contemplating the big issues. The more beguiling moments involve bits of what might be called barroom philosophy, such as Shadow Moon saying that “all the best drinks have self-defining names,” or Media lamenting people’s increasing inability to concentrate on one thing at a time.
    • 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.
    • 79 Metascore
    • 80 Matt Zoller Seitz
    The show carries itself with a no-big-deal confidence, exploring subjects organically, as you would in a real conversation, and always rooting its one-liners in the psychology of its characters.
    • 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.
    • 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.
    • 65 Metascore
    • 80 Matt Zoller Seitz
    Tthe most promising aspect of the series is the challenges it could provide to its cast, if the writing continues to sharpen.
    • 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.
    • 82 Metascore
    • 80 Matt Zoller Seitz
    The Night Manager knows exactly what kind of entertainment it wants to be: escapism with just enough of a dark edge to pass for art. And it stays as focused on its mission as Pine does on his.
    • 75 Metascore
    • 80 Matt Zoller Seitz
    There could be a precipitous drop in quality in the next few weeks, for all we know. But what’s onscreen here is intelligent, sensitive, and sure-footed, and altogether promising.

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