Melissa Maerz
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For 92 reviews, this critic has graded:
  • 72% higher than the average critic
  • 6% same as the average critic
  • 22% lower than the average critic
On average, this critic grades 11 points higher than other critics. (0-100 point scale)

Melissa Maerz's Scores

Average review score: 76
Highest review score: 100 Orange is the New Black: Season 2
Lowest review score: 16 Anna Nicole
Score distribution:
  1. Positive: 80 out of 92
  2. Negative: 3 out of 92
92 tv reviews
    • 66 Metascore
    • 100 Melissa Maerz
    There’s something communal about Schumer’s approach to comedy. It’s not just about punchlines. It’s about conversations. And she makes the women around her seem funnier, just by letting them in on the joke. Some of the best moments happen when she’s interviewing people, inspiring the type of real talk you don’t often get to hear once you’ve outgrown the girls’ locker room.
    • 92 Metascore
    • 100 Melissa Maerz
    By the end, it's unclear which of these people are alive or dead, literally or spiritually. But The Returned still qualifies as a new zombie classic--a haunting tribute to the lost loves who feed on your brain forever.
    • 93 Metascore
    • 100 Melissa Maerz
    Its main purpose is to confront the taboo, and whether that means exploring just how far Louie will go into the "experimental" side of masturbation in the season premiere or simply digging into his ugliest prejudices about overweight women, the show can be revelatory.
    • 89 Metascore
    • 100 Melissa Maerz
    Orange Is the New Black might be the closest thing we have to Charles Dickens right now: a sharp denunciation of an arcane system, driven by hardscrabble characters with whimsical names that define who they are and what they like.
    • 68 Metascore
    • 100 Melissa Maerz
    How to Get Away With Murder begins with an actual murder--a group of hypercompetitive law students are fighting over what to do with the body--before it flashes back to their first day in Keating's class, quickly establishing each character before discrediting our first impressions.... Thanks to Davis' powerfully layered performance, it's impossible to read Keating.
    • 89 Metascore
    • 100 Melissa Maerz
    We're taught that good drama relies on characters changing over time. Here, McDormand proves that a character's refusal to change can be just as compelling, and she hints at that stubbornness in exquisitely subtle fashion.
    • 85 Metascore
    • 100 Melissa Maerz
    If the hospital staff is desensitized to basic human dignity, the show makes sure its audience never is. [14/21 Nov 2014, p.100]
    • 76 Metascore
    • 91 Melissa Maerz
    Prepare for gullet slicing, blood spurting, cop-versus-cop conflict, and more blood spurting. We can't get enough.
    • 46 Metascore
    • 91 Melissa Maerz
    You'll alternate between cooing at 6-year-old pageant queen Honey, gawking at her self-described "redneck" family and pet pig, laughing so hard you cry, and feeling deep shame for not turning it off.
    • 91 Metascore
    • 91 Melissa Maerz
    The most compelling characters in season 3 are the gentleladies.
    • 91 Metascore
    • 91 Melissa Maerz
    Broadchurch is a gripping portrait of small-town paranoia.
    • 74 Metascore
    • 91 Melissa Maerz
    The setup is slow, but the show captures shadowy Coulson, sarcastic Grant (Brett Dalton), combat vet Melinda May (Ming-Na Wen), and Fitz (Iain De Caestecker) and Simmons (Elizabeth Henstridge), whose superpower is Britishness. Bonus points for wry dialogue by co-creator Joss Whedon. [20/27 Sep 2013, p.144]
    • 71 Metascore
    • 91 Melissa Maerz
    [Ryan Murphy's] sharp take on a woman's role is both funny and mordantly serious.
    • 86 Metascore
    • 91 Melissa Maerz
    It's a smart show that plays dumb at first, just to get your attention. Masters may not yet be as groundbreaking as the true drama that inspired it. But like Betty, it knows how to fake it until things get real.
    • 71 Metascore
    • 91 Melissa Maerz
    It may sound like your typical procedural--but by part 1's cliff-hanger ending, it clearly isn't and the very intense Tennant deserves much of the credit for that. [13 Jun 2014, p.77]
    • Entertainment Weekly
    • 52 Metascore
    • 91 Melissa Maerz
    It's a very funny show about how hard it is realizing you've become a cliché: the useless husband, the naggy wife, the insufferable couple on the sitcom.
    • 75 Metascore
    • 91 Melissa Maerz
    The show was created by Jack Amiel and Michael Begler, but it's Soderbergh's vision, from the brilliant but unusual score (minimalist electronic music) to the wry camera angles (the series opens on Owen's shoes as he lounges in a brothel). For a period piece, it's strikingly contemporary--and quite gory, although the surgery scenes never feel gratuitous.
    • 75 Metascore
    • 91 Melissa Maerz
    Beyond the sloggy Mistah Bates! scandal, which still gets too much attention, it's a relief to find no secret rapes or pregnancy shame (yet) this season. It's time for these proper ladies to have some proper fun.
    • 75 Metascore
    • 91 Melissa Maerz
    Girls is already one of the most "New York" shows on television, with its brilliant skewering of aspiring, overentitled creative-class types like Lena Dunham's Hannah.... This season also has astute things to say about the heartbreak, and the relief, of getting older and reexamining your dreams.
    • 77 Metascore
    • 91 Melissa Maerz
    Everyone's looking for love in a way that's so vulnerable, it feels authentic even if you've never been anywhere near the Castro.
    • 79 Metascore
    • 91 Melissa Maerz
    It's a slower-paced, smaller-scale show about the sad reality of sticking it out in Hollywood into middle age. It also veers into weirder territory that would feel impossible outside California. But thanks to the chemistry between Peet and Zissis, it's endlessly engrossing.
    • 66 Metascore
    • 83 Melissa Maerz
    Until we find out what happened long ago, we'll just enjoy watching all the beautiful, golden-tanned people say awesomely ridiculous things like: "These guys really put the suck in seersucker."
    • 62 Metascore
    • 83 Melissa Maerz
    Williams and O'Quinn bring genuine creepiness to their roles, making this drama crazy-fun, with emphasis on the crazy. [28 Sep 2012, p.66]
    • Entertainment Weekly
    • 72 Metascore
    • 83 Melissa Maerz
    The new season is actually pretty good, and it gets better with each episode.
    • 79 Metascore
    • 83 Melissa Maerz
    It's very funny and occasionally quite moving, with a crackerjack cast and provocative insights into the way that race and power and magical chickens function in the penal system.
    • 62 Metascore
    • 83 Melissa Maerz
    They're way more like us than the Kardashians, and they clearly love one another, roadkill dinners and all. [19 Jul 2013, p.80]
    • Entertainment Weekly
    • 77 Metascore
    • 83 Melissa Maerz
    For a thoughtful drama that's so rooted in national identity, there's only one real misstep: No one will mistake Kruger for a Texan.
    • 60 Metascore
    • 83 Melissa Maerz
    The drama's just as intense as [Mark] Strong, who's clearly earned his last name. [9 Aug 2013, p.73]
    • 53 Metascore
    • 83 Melissa Maerz
    It's Pretty Little Liars meets Sofia Coppola's Marie Antoinette, and it's good, frothy fun. [18 Oct 2013, p.59]
    • 55 Metascore
    • 83 Melissa Maerz
    The gorgeous art direction make this great fun, and Rhys Meyers plays his part with such blood-slurping, mouth-wiping gusto that even a dentist could love him. [25 Oct/1 Nov 2013, p.94]
    • Entertainment Weekly

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