Matt Zoller Seitz
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For 248 reviews, this critic has graded:
  • 44% higher than the average critic
  • 4% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 0.5 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: 22 out of 248
248 tv reviews
    • 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.
    • 56 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.
    • 34 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.
    • 37 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.
    • 63 Metascore
    • 50 Matt Zoller Seitz
    Despite its refreshing commitment to realism, Doll & Em is ultimately too relaxed and meandering for its own good. There are times when you may wish it had embraced the occasional cliches with more gusto.
    • 69 Metascore
    • 50 Matt Zoller Seitz
    The problem is, once you get past the initial shock of a fresh premise and start watching the pilot, the show starts to seem more formulaic, with stock characters (mostly female, alas) and what sounds like placeholder dialogue that was supposed to filled in with good stuff later but wasn't.
    • 68 Metascore
    • 50 Matt Zoller Seitz
    The lead performances are a tad opaque, and the script feels as though it's telling two separate stories that don't immediately seem as though they'll connect in a graceful way.
    • 52 Metascore
    • 50 Matt Zoller Seitz
    Married, for all its frank sex and salty language and disinterest in being loved and indie-film handheld camerawork, is really not all that different from the three-camera network usual, and way too much in love with its leading male character's supposed lovable-ness, considering how shallow he is.
    • 64 Metascore
    • 50 Matt Zoller Seitz
    For every tired element, there are lovely, even mysterious touches.... Emotionally, I'm not sure that a lot of Satisfaction makes sense at all, but a certain strain of dream logic holds it together.
    • 69 Metascore
    • 40 Matt Zoller Seitz
    Unfortunately, too much of the show is taken up by the usual Kelley stupidity. [1 Oct 2004]
    • Newark Star-Ledger
    • 67 Metascore
    • 40 Matt Zoller Seitz
    Everyone involved with this production obviously meant well--this TV movie doesn't have a cruel or ignorant moment--but good intentions aren't enough.
    • 58 Metascore
    • 40 Matt Zoller Seitz
    Camelot teeters on the edge of camp, but it doesn't have the nerve to pitch itself into the abyss and just be trashy.
    • 59 Metascore
    • 40 Matt Zoller Seitz
    It's an oxymoron: a show about identity theft with no personality.
    • 28 Metascore
    • 40 Matt Zoller Seitz
    Despite the general mediocrity of the show's dialogue, these are potentially endearing comic characters played by (mostly) excellent comic actors.
    • 63 Metascore
    • 40 Matt Zoller Seitz
    The characters are so TV cute (and in some cases TV pretty) and the storytelling so mechanical, that I couldn't give myself over to it either way.