Matt Zoller Seitz
Select another critic »
For 272 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 points lower than other critics. (0-100 point scale)

Matt Zoller Seitz's Scores

Average review score: 65
Highest review score: 100 Game of Thrones: Season 2
Lowest review score: 0 Criminal Minds: Suspect Behavior: Season 1
Score distribution:
  1. Negative: 24 out of 272
272 tv reviews
    • 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.
    • 63 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.
    • 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.
    • 68 Metascore
    • 50 Matt Zoller Seitz
    The script and direction could both use a jolt of crazy energy of the sort that made Precious so thrilling (or, if you didn’t like it, unbearable).
    • 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.
    • 29 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.
    • 62 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.
    • 56 Metascore
    • 40 Matt Zoller Seitz
    The premiere boasts intriguing hints of self-awareness but never quite follows through on them, and that's too bad.
    • 64 Metascore
    • 40 Matt Zoller Seitz
    Falling Skies is better than it used to be, but it's still whiffing the allegory, the action, and the characterization: three strikes and you're out.
    • 63 Metascore
    • 40 Matt Zoller Seitz
    Thankfully, both Hagman and Duffy are still around and alert, and their presence holds this new, mostly disappointing Dallas together.
    • 61 Metascore
    • 40 Matt Zoller Seitz
    The New Normal humanizes stereotypes without ever quite making them seem like people.
    • 67 Metascore
    • 40 Matt Zoller Seitz
    If the actors were stronger--or, to be fair, if the show had had a better sense of how to tap whatever talents they possess--they might have been able to sell the material. No such luck.
    • 47 Metascore
    • 40 Matt Zoller Seitz
    The plot has a few moments designed to reassure us that Emily is a competent grown-up who's good at her job, but for the most part, she comes off as a bland, clueless, simpering person who doesn't realize how accomplished (and privileged) she is.
    • 66 Metascore
    • 40 Matt Zoller Seitz
    It plays more like a lavishly funded Lifetime movie.
    • 60 Metascore
    • 40 Matt Zoller Seitz
    If the show were badly directed, photographed, edited, and acted, at least you could have fun laughing at it, but everyone’s working so hard to put across unremarkable material that the best one can manage is a kind of exhausted empathy.
    • 62 Metascore
    • 40 Matt Zoller Seitz
    Rake seems to believe he's fascinating, but the evidence does not persuade.
    • 52 Metascore
    • 40 Matt Zoller Seitz
    There are a few lively moments--Barry flipping out when he thinks his mom gave him car keys for his birthday when it's really a locket with her picture in it; a montage that collects dad's malapropisms, the better to teach viewers "How to speak Murray"--but it's all too strained, too obviously written, and too dependent on the sort of easy-laughs memory-lane-tripping that VH1 did to death about fifteen years ago.
    • 69 Metascore
    • 40 Matt Zoller Seitz
    The behind-the-scenes story that Jonrosh lays out for us is, alas, more amusing, even sight-unseen, than anything in the story proper.... What we do see is curiously tone-deaf and rarely pays off as you hope it will.
    • 67 Metascore
    • 40 Matt Zoller Seitz
    To be clear, the problem isn't that Will is in some general sense unlikable, it's that About a Boy rigs the show so that you have no choice but to think of him as a liberating life force who's adorable and ultimately admirable.

Top Trailers