Melissa Maerz
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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 Black Mirror: Season 1
Lowest review score: 16 Dads: Season 1
Score distribution:
  1. Positive: 73 out of 85
  2. Negative: 3 out of 85
85 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.
    • 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
    • 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.
    • 73 Metascore
    • 83 Melissa Maerz
    Getting On is much funnier than its premise suggests. [22 Nov 2013, p.62]
    • 69 Metascore
    • 83 Melissa Maerz
    The real laughs come from seeing so many famous people in absurd situations waxing nostalgic for the age of the melodrama, hen the romance was good, the green screens were bad, and the fashion was even worse. [10 Jan 2013, p.67]
    • 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.
    • 81 Metascore
    • 83 Melissa Maerz
    The cast is charming and there's a refreshing honesty about Cam. [3 Oct 2014, p.67]
    • Entertainment Weekly
    • 63 Metascore
    • 83 Melissa Maerz
    Marry Me wouldn't work without Wilson and Marino, who make Annie and Jake just cringeworthy enough to be funny.
    • 63 Metascore
    • 83 Melissa Maerz
    Benched is more lightweight [than Enlightened], but it's encouragingly funny thanks to Coupe, whose attempts at anger management showcase impeccable comic timing.
    • 52 Metascore
    • 75 Melissa Maerz
    The Firm's straightforward, one-man-against-the-system story still feels compelling.
    • 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.
    • 66 Metascore
    • 75 Melissa Maerz
    Emotionally, the show's been downward-spiraling for so long, it needs a break from all the bleakness. But the introductions of two new doctors should pep things up. [12 Apr 2013, p.69]
    • Entertainment Weekly
    • 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.
    • 51 Metascore
    • 75 Melissa Maerz
    It's an old story. But co-creator Liz Heldens is fluent in teen-speak. [19 Jul 2013, p.80]
    • Entertainment Weekly
    • 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]
    • 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.
    • 64 Metascore
    • 75 Melissa Maerz
    The unfortunate title is a disservice to this show's main character.... Luckily, the second episode makes Kate sympathetic, as she tries (and fails) to put her stepson (Albert Tsai) to bed. Akerman has nice, playful chemistry with Tsai, who shows good comic timing even though he's only 9.
    • 64 Metascore
    • 75 Melissa Maerz
    Over 10 episodes, as these characters' lives intertwine, LaBute delivers a deeper meditation on the way people use each other, whether or not they're picking up the check.
    • 65 Metascore
    • 75 Melissa Maerz
    Enlisted feels like a charming military-inspired update of an Office-style workplace comedy. [10 Jan 2013, p.67]
    • Entertainment Weekly
    • 65 Metascore
    • 75 Melissa Maerz
    As a meditation on grief, The Leftovers can be oppressive.... As a mystery, however, it's gripping.
    • 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.
    • 69 Metascore
    • 75 Melissa Maerz
    All are very likable, which is a worthy enough reason to watch.
    • 77 Metascore
    • 75 Melissa Maerz
    It's funny, but it's not revolutionary.
    • 66 Metascore
    • 75 Melissa Maerz
    The writing can be smart and Feldman shows a real gift for playing neurotics whose grand flourishes will strike women as either romantic or totally creepy.
    • 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.
    • 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.
    • 76 Metascore
    • 67 Melissa Maerz
    The quick wit isn't quite there anymore. [21 Jun 2013, p.58]
    • Entertainment Weekly
    • 69 Metascore
    • 67 Melissa Maerz
    The humor's not as sharp as Curbed--one bit finds Nathan wondering if waitresses should really wipe down tables with rags, since they're dirty--and the cameos feel gratuitous. Only JB Smoove earns his screen time. [9 Aug 2013, p.73]
    • 65 Metascore
    • 67 Melissa Maerz
    Faris and Janney are funnier than the material.
    • 69 Metascore
    • 67 Melissa Maerz
    If Betas keeps up with millennial cleverness, it's also sometimes a little too on-the-nose.
    • 54 Metascore
    • 67 Melissa Maerz
    It's mildly entertaining, but Outlaw TV it ain't.
    • 70 Metascore
    • 67 Melissa Maerz
    [The premiere episode] begins with some decent gags (Maron wanting to profess his love with a toe ring!) before he gets to groaners.
    • 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.
    • 69 Metascore
    • 67 Melissa Maerz
    There are still quite a few good reasons to watch this flawed show. The pilot features some clever twists that I won’t ruin here. The dialogue can be highly quotable, in an engrave-this-mantra-on-your-iPad way. (“Computers aren’t the thing–they’re the thing that gets us to the thing!”) And McNairy is fantastic, simmering with quiet intensity that suggests that there’s much more to Gordon than we’re privy to in the pilot.
    • 54 Metascore
    • 67 Melissa Maerz
    There are still too many characters to keep track of, and their numbers are only growing.... [But] There's a clever twist involving Eric that could set up an exciting arc for Sookie.
    • 54 Metascore
    • 67 Melissa Maerz
    Gordon has said that he's trying to dramatize the "complexity" of the Middle East, but there's not a lot of depth to the pilot.... If there's one thing that saves Tyrant, it's Bassam. By the end of the pilot, he's not the boring, all-moral hero that he seems.
    • 71 Metascore
    • 67 Melissa Maerz
    What started as satire now feels like a reheated reality "event" itself.
    • 55 Metascore
    • 67 Melissa Maerz
    It was... fine. Totally fine. Just as I'd suspected. Nothing spectacular. But nothing so embarrassing as NBC’s live production of The Sound of Music.
    • 53 Metascore
    • 58 Melissa Maerz
    You can't have young, dumb fun without the fun part, and the good times are increasingly rare this season. [2 Sep 2011, p.64]
    • Entertainment Weekly
    • 49 Metascore
    • 58 Melissa Maerz
    It's a teen soap opera but the hacky dialogue sounds like it was written by somebody's mother. [15 Jun 2012, p.77]
    • 58 Metascore
    • 58 Melissa Maerz
    It's getting harder to remember that this blood-leeching drama used to be a whole lot of fun.
    • 63 Metascore
    • 50 Melissa Maerz
    There's a strong cast, including Ana Ortiz and Judy Reyes, but there are too many bad stereotypes. [21 Jun 2013, p.60]
    • Entertainment Weekly
    • 37 Metascore
    • 50 Melissa Maerz
    The gore is inventive, but after the billionth bloodbath, there are still as many narrative loose ends as ever. When the story doesn't hold, even the jugular geysers feel boring.
    • 42 Metascore
    • 50 Melissa Maerz
    Manhattan Love Story (ABC) makes the male lead feel almost irrelevant. He's not essential to the fantasy.
    • 69 Metascore
    • 50 Melissa Maerz
    The tone changes so abruptly, what's meant to be funny comes off as bitter. [5 Dec 2015, p.65]
    • 33 Metascore
    • 42 Melissa Maerz
    It's the male Sex and the City, with more shirtless scenes (courtesy of Jerry O'Connell) and way less wit.
    • 64 Metascore
    • 42 Melissa Maerz
    Petals isn't good enough to satisfy anyone's nostalgia, and it's not bad enough to be awesome. [30 May/6 Jun 2014, p.111]
    • 42 Metascore
    • 33 Melissa Maerz
    ABC's more-silly-than-saucy new drama. [31 May/7 Jun 2013, p.130]
    • Entertainment Weekly
    • 45 Metascore
    • 16 Melissa Maerz
    The only way to get through the whole thing is to take a shot of peach schnapps whenever Smith blows kisses, poledances, or trips and falls down.
    • 15 Metascore
    • 16 Melissa Maerz
    Friends Warner (Giovanni Ribisi) and Eli (Seth Green) have clueless dads (Martin Mull and Peter Riegert) who might be racist, or maybe it's just the show. [20/27 Sep 2013, p.141]

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