Matt Zoller Seitz
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For 264 reviews, this critic has graded:
  • 45% higher than the average critic
  • 4% same as the average critic
  • 51% lower than the average critic
On average, this critic grades 0.3 points higher than other critics. (0-100 point scale)

Matt Zoller Seitz's Scores

Average review score: 65
Highest review score: 100 Episodes (US): Season 1
Lowest review score: 0 Dads: Season 1
Score distribution:
  1. Negative: 24 out of 264
264 tv reviews
    • 65 Metascore
    • 60 Matt Zoller Seitz
    The first few episodes don’t showcase enough artistry to justify all the slogging and weeping, the bloodied faces and broken hearts. But I’d be lying if I said The Leftovers didn’t fascinate me.
    • 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.
    • 54 Metascore
    • 60 Matt Zoller Seitz
    The pilot episode of Forever struck me as the first half of a pretty-good-but-not-great movie; whether it can sustain itself as a TV series remains to be seen.
    • 68 Metascore
    • 60 Matt Zoller Seitz
    The show is fast-paced and unpretentious, and it finds clever ways to deliver exposition that might otherwise be tedious.... [But] It often tries too hard to wow us, when it might have been better off just telling its story and developing its characters.
    • 45 Metascore
    • 50 Matt Zoller Seitz
    Silly as it is, the show works as pop-mythic eye candy. The pilot alone a motherlode of iconic pictures. [3 Oct 2003, p.53]
    • Newark Star-Ledger
    • 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.
    • 64 Metascore
    • 50 Matt Zoller Seitz
    Nothing in this pilot is as compelling as the idea for the show, which begs philosophical and ethical questions that Spielberg and company (for now, at least) aren't interested in addressing.
    • 65 Metascore
    • 50 Matt Zoller Seitz
    Unfortunately it's more of a survey or omnibus, so it covers many programs somewhat glancingly.
    • 74 Metascore
    • 50 Matt Zoller Seitz
    Cinema Verite is smart and often moving, but unsatisfying overall.
    • 63 Metascore
    • 50 Matt Zoller Seitz
    What's on the screen is a likable but dumb TV version of what the film scholar David Bordwell calls a "network narrative."
    • 60 Metascore
    • 50 Matt Zoller Seitz
    Hell on Wheels seems to be puttering around a circular track, with no straightway in sight.
    • 65 Metascore
    • 50 Matt Zoller Seitz
    It's reasonably clever and well acted and has strong atmosphere and a few good scares, and the concept--a found-footage voyage into the Amazon to locate a mysteriously MIA scientist--is catchy. But the format of the show may prove a dealbreaker for me.
    • 57 Metascore
    • 50 Matt Zoller Seitz
    NYC 22 isn't the best or worst show you'll ever see.
    • 68 Metascore
    • 50 Matt Zoller Seitz
    Despite very slight improvements, this series still seems deluded as to what it is and blind to what it could become.
    • 73 Metascore
    • 50 Matt Zoller Seitz
    This is a slight but watchable show, yet more brain candy from CBS's vending machine.
    • 57 Metascore
    • 50 Matt Zoller Seitz
    Wilfred is much more pleasant and consistently enjoyable than Falling Skies, but that might be because the stakes are much lower.
    • 41 Metascore
    • 50 Matt Zoller Seitz
    The dialogue and situations (written by Kevin Abbott) are nothing special.
    • 64 Metascore
    • 50 Matt Zoller Seitz
    It's not quite so bad that you lose all hope, some of the images and performances are memorable, and it's not inconceivable that future episodes could pique my interest again. But for now I'd put it in the "wait and see" column, without enthusiasm.
    • 33 Metascore
    • 50 Matt Zoller Seitz
    Beauty and the Beast's pilot is rarely more than competent, sometimes stubbed-toe clumsy. But if it can hang around for a while, devise a style that matches its story, and tap its stars' sincerity, it could become a cult hit: perpetually underrated but loved.
    • 42 Metascore
    • 50 Matt Zoller Seitz
    The Mob Doctor's pilot is stranded between quality cable nuance and broadcast network spoon-feeding.
    • 38 Metascore
    • 50 Matt Zoller Seitz
    With its stock supporting characters (Ali and Wyatt are attractive blanks) and its lame central contrivance, this is not a great pilot, but it's far from an awful one.
    • 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.
    • 52 Metascore
    • 50 Matt Zoller Seitz
    It lacks momentum and nerve, and it's sitting on a wellspring of meaning that it's too polite to tap.
    • 66 Metascore
    • 50 Matt Zoller Seitz
    I’m torn between condemning the series for piggybacking on a classic and promising an origin story it doesn’t really care to deliver, and praising it for avoiding the homicidal Muppet Babies formula and pulling a pretty brazen bait-and-switch.
    • 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.
    • 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.
    • 44 Metascore
    • 50 Matt Zoller Seitz
    The show is partly redeemed by Underwood’s snitty charisma and The Killing co-star Brent Sexton’s affecting work as the hero’s self-loathing former partner, who blames his inaction for Ironside’s condition. Overall, though, this is weak stuff.
    • 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.
    • 49 Metascore
    • 50 Matt Zoller Seitz
    All the actors are spot-on, even ones who have just a few scenes. It's a pity Kayla Alpert's script and Deborah Chow's direction don't do their collaborators justice.
    • 54 Metascore
    • 50 Matt Zoller Seitz
    The creative failure of Growing Up Fisher is more distressing than the missteps of About a Boy because there would seem to be so much more potential there. These are characters that, in theory, you haven't seen before, but the show makes them feel too familiar.

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