Matt Zoller Seitz
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For 278 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 0.1 points lower than other critics. (0-100 point scale)

Matt Zoller Seitz's Scores

Average review score: 65
Highest review score: 100 The Americans: Season 3
Lowest review score: 0 Criminal Minds: Suspect Behavior: Season 1
Score distribution:
  1. Negative: 25 out of 278
278 tv reviews
    • 65 Metascore
    • 60 Matt Zoller Seitz
    Although this miniseries stages large-scale action reasonably well (with the occasional lapse into visual clichés, such as the silent/slow-motion Boston Massacre) and has a marvelous atmospheric quality, it seems more generic and un-special the more conventionally "exciting" it's trying to be.
    • 49 Metascore
    • 60 Matt Zoller Seitz
    Missteps are balanced by bits that ring oddly true.
    • 62 Metascore
    • 60 Matt Zoller Seitz
    While it's emphatically not a great show, it is an overheated yet intriguing one, driven more by visuals than words--and if you don't mind that its gory action and soap-opera plots aren't yet matched by dialogue and performance, it's worth a look.
    • 42 Metascore
    • 60 Matt Zoller Seitz
    The pilot for ABC's extraterrestrial silly-fest feels half-baked, and parts of it just sort of lie there, but this shouldn't be a deal breaker.
    • 65 Metascore
    • 60 Matt Zoller Seitz
    A series that’s not as impressive as its lead actor’s performance.
    • 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.
    • 37 Metascore
    • 60 Matt Zoller Seitz
    The weak link is Jesse Bradford's Chris.... The other couples are more humanely drawn. Because they make emotional and psychological sense, the chirpy sitcom banter goes down more smoothly.
    • 62 Metascore
    • 60 Matt Zoller Seitz
    Still, for all its flaws, this is an intriguing show, packed with atmospheric details and Easter-egg-style grace notes.
    • 91 Metascore
    • 60 Matt Zoller Seitz
    Broadchurch excels at showing the awkward moments between the briskly delivered plot points, and the small details of voice and gesture that define communities in mourning (or guilty panic), and it has the good sense not to overdo anything.... And yet there's something fundamentally unsatisfying about the whole thing, as smart and intricately structured as it is--and it has nothing whatsoever to do with any writing or acting or filmmaking issues, and everything to do with the fact that we've just been to this particular narrative well too many times in 2013.
    • tbd Metascore
    • 60 Matt Zoller Seitz
    There are glimmers of hope in Portlandia's attempts to build a faux mythology and turn their Portland into a borderline fairy-tale realm--basically Parks and Recreation's Pawnee with an actual zip code.
    • 66 Metascore
    • 60 Matt Zoller Seitz
    In the not great but likable and intelligent Madam Secretary, Téa Leoni’s talent gets a deserving showcase.
    • 57 Metascore
    • 60 Matt Zoller Seitz
    It's still as detailed, opaque and confusing as ever. [8 Jan 2005]
    • Newark Star-Ledger
    • 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.
    • 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.
    • 65 Metascore
    • 50 Matt Zoller Seitz
    Unfortunately it's more of a survey or omnibus, so it covers many programs somewhat glancingly.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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
    • 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.
    • 74 Metascore
    • 50 Matt Zoller Seitz
    Cinema Verite is smart and often moving, but unsatisfying overall.
    • 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.
    • 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.
    • 60 Metascore
    • 50 Matt Zoller Seitz
    Hell on Wheels seems to be puttering around a circular track, with no straightway in sight.
    • 43 Metascore
    • 50 Matt Zoller Seitz
    The show is modestly exciting, at the very least watchable, and has network-quality production values, though no discernible filmmaking personality to speak of.
    • 41 Metascore
    • 50 Matt Zoller Seitz
    The dialogue and situations (written by Kevin Abbott) are nothing special.

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