PopMatters' Scores

For 492 reviews, this publication has graded:
  • 34% higher than the average critic
  • 5% same as the average critic
  • 61% lower than the average critic
On average, this publication grades 7.1 points lower than other critics. (0-100 point scale)
Average TV Show review score: 58
Highest review score: 100 The Office (UK): Season 1
Lowest review score: 0 Get This Party Started: Season 1
Score distribution:
  1. Mixed: 0 out of 184
  2. Negative: 0 out of 184
184 tv reviews
  1. If the first offering, "Incident On and Off a Mountain Road," is any indication, the hoped-for resurrection of in-your-face frights is still a couple of corpses away.
  2. Save for Sheila, the parents are likable and their circumstances familiar, but Guys with Kids relies too often on predictable jokes.
  3. At times Outcasts degenerates into space melodrama, complete with teens regularly pissed off at their parents. The human community works through corruption, lust for power, and betrayal, but also shows love, dedication, and sacrifice.
  4. Unfortunately, the pilot doesn't suggest that there is anything more interesting at work here than a weak attempt to wring laughs out of aliens who are buffoons.
  5. The series has laid groundwork for minor and mostly predictable complications.
  6. The only thing connecting how Franklin and Bash act inside and outside the courtroom is a general willingness to wing it and hope for the best. But they're not as charming as the show thinks they are, and their triumphs don't seem so great.
  7. When one cuts through its mix of slight pleasures and leaden annoyances, it's apparent that Dinosaur Revolution is not revolutionary in form or content, and moreover, that its melding of entertainment with science ends up disfiguring both.
  8. For the most part, 90210 seems unsure what to do with the Gen-X demographic, fitting in an awkward assortment of teachers, guidance counselors, and big sisters alongside the kid stars.
  9. Hood’s methods are unconventional, Eleventh Hour insists, but still, he’s strangely bland.
  10. Flashpoint works through the distress and damage it lays out here, it gets points for beginning with the difficulty, not with the triumph. Now, if it can just figure a way beyond the scary perp clichés.
  11. For every step forward (intricate plotting, Wentworth's engaging lead performance), the show also manages to stumble back (rote subplots, incessant lame dialogue as exposition).
  12. As a prestige show, it’s so serious, portentous, and polished, it’s not very much fun at all, so intent on wrapping its package in money and style that it forgets to put anything inside.
  13. These cases don't come together so much as they suggest a formula.
  14. Like The Closer, Major Crimes offers utterly predictable crime-solving.
  15. With the subtlety of a sledgehammer, the show right away telegraphs that there is more to Kaan than meets the eye, that he's not just a con. We're just not inclined to believe him.
  16. As much as they have at stake, neither Vince nor Dana is as much fun to watch as Max. Master of the arched eyebrow and the sly grin, Max is better than a circus act.
  17. When so much of the series depends on psychological nuance, the lurch into Hollywood action thriller confrontations is an outright admission of defeat. Sensationalism trumps subtlety once more. Both Luther and Idris Elba deserve so much more.
  18. Despite pacy editing, superb action choreography, and location shooting across Europe, the whole turns out to be yet another re-run of that updated Western, 24, which pits an arrogant outlaw protagonist against friend and foe alike.
    • 68 Metascore
    • 50 Critic Score
    So aggressive is RENO 911!'s low-budget affect (not to mention its inconsistent pace and sometimes flat humor) that Cops looks positively polished by comparison. ... Still, and especially in its improvisational moments, RENO 911! offers occasionally engaging spontaneity.
  19. A joint effort between Showtime and the BBC, it features British humor and American humor. These don't always play nice together, and Episodes appears unsure of how to make them merge or which to privilege.
  20. If Go On isn't breaking new ground, it does manage to find humor, even among the most dour of premises.
  21. With a winning lead player and supporting cast, plus an interesting premise, Moonlight has potential.
  22. As of one episode, it's decently entertaining, though its sharp writing suggests potential. It's earned my interest for at least a couple of more episodes.
  23. Parts of the show seem archaic, more Life on Mars than life in a 21st century police department. Other parts seem careless bricolage.
  24. Unfortunately, the best bits of the premiere were the flashbacks to the finale, though their impact was watered down considerably in the context of an action-less storyline, filled with Grey's usual rambling pontifications.
  25. Freddie's stereotypically hard-hitting reporter's persona is soon tiring and irksome. Still, Freddie isn't so tedious as the show's "villains."
  26. Here everyone, even Bosley, seems interchangeable.
  27. Kid Nation does not mean to find out whether kids can do what adults could not. It means instead to demonstrate that these kids really would die without the intervention of adults.
  28. Cole is good and Price is evil. And neither one of them is remotely interesting.
  29. If this kind of comedy fails in its airless context, Todd Margaret's illogical universe can still be entertaining, at least for brief moments.

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