Melissa Maerz
Select another critic »
For 85 reviews, this critic has graded:
  • 70% higher than the average critic
  • 8% same as the average critic
  • 22% lower than the average critic
On average, this critic grades 10.4 points higher than other critics. (0-100 point scale)

Melissa Maerz's Scores

Average review score: 75
Highest review score: 100 Inside Amy Schumer: Season 1
Lowest review score: 16 Anna Nicole
Score distribution:
  1. Positive: 73 out of 85
  2. Negative: 3 out of 85
85 tv reviews
    • 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.
    • 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.
    • 91 Metascore
    • 91 Melissa Maerz
    Broadchurch is a gripping portrait of small-town paranoia.
    • 91 Metascore
    • 91 Melissa Maerz
    The most compelling characters in season 3 are the gentleladies.
    • 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.
    • 89 Metascore
    • 83 Melissa Maerz
    Masters may be set in the 1950s, but its politics don't need to live there as well. Luckily, the conversations between the women are just as juicy as last season.
    • 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.
    • 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.
    • 85 Metascore
    • 75 Melissa Maerz
    The cinematography is beautiful, with the present cast in a melancholy blue and the past cast in yellow, as if to remind us that terrible things are done in broad daylight. Some minor characters are intriguing.... But The Missing doesn't have much to say about the loss of a child beyond that it's an Unbearable Tragedy.
    • 85 Metascore
    • 67 Melissa Maerz
    Characters make long, passionate speeches that sometimes fail to register because they feel like lectures--though maybe Kramer’s message shouldn’t be so easy to hear.
    • 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]
    • 83 Metascore
    • 67 Melissa Maerz
    A glossy story of love gone wrong and then (slightly) redeemed at the end, without a whole lot of deep pathos in between.
    • 81 Metascore
    • 83 Melissa Maerz
    The cast is charming and there's a refreshing honesty about Cam. [3 Oct 2014, p.67]
    • Entertainment Weekly
    • 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.
    • 79 Metascore
    • 83 Melissa Maerz
    Just as adept with suspense as slapstick humor, it's both a piss-take of action dramas and a strong action drama in its own right.
    • 77 Metascore
    • 75 Melissa Maerz
    It's funny, but it's not revolutionary.
    • 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.
    • 77 Metascore
    • 75 Melissa Maerz
    There's a lot of slow exposition here, requiring patience for new characters (like Ron Livingston as wealthy playboy Roy Phillips). But the body count builds by the time the credits roll, so those quiet rooms won't stay quiet for long. [6 Sep 2013, p.71]
    • 76 Metascore
    • 91 Melissa Maerz
    Prepare for gullet slicing, blood spurting, cop-versus-cop conflict, and more blood spurting. We can't get enough.
    • 76 Metascore
    • 67 Melissa Maerz
    The quick wit isn't quite there anymore. [21 Jun 2013, p.58]
    • Entertainment Weekly
    • 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
    • 75 Melissa Maerz
    The wit is rapid-fire, and keeping up with Louis-Dreyfus as she sprints between appointments, all shaken up like a soda bottle about to explode, is good fun. But the humor is so meta, it's easier to find yourself thinking "This is funny" than actually laughing.
    • 75 Metascore
    • 75 Melissa Maerz
    Together with Jon Voight, who's thrillingly twisted as Ray's crazy ex-con father, Mickey, Schreiber helps save this show from becoming just another drama about sex scandals diverted and TMZ headlines deferred.
    • 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]
    • 74 Metascore
    • 75 Melissa Maerz
    At this point, Jax is so wishy-washy, it's hard not to root for the bad guys, especially since Lee has become the show's most entertaining villain. SOA always wrenches great comedy from gross-out violence, and Logue masters that art.
    • 73 Metascore
    • 83 Melissa Maerz
    Getting On is much funnier than its premise suggests. [22 Nov 2013, p.62]
    • 72 Metascore
    • 83 Melissa Maerz
    The new season is actually pretty good, and it gets better with each episode.
    • 72 Metascore
    • 75 Melissa Maerz
    This is cult-classic, midnight-movie horror, designed in meticulous, mythology-respecting detail for comic-book readers and fangirls and -boys.
    • 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
    • 71 Metascore
    • 91 Melissa Maerz
    [Ryan Murphy's] sharp take on a woman's role is both funny and mordantly serious.

Top Trailers