PopMatters' Scores

For 485 reviews, this publication has graded:
  • 33% higher than the average critic
  • 5% same as the average critic
  • 62% lower than the average critic
On average, this publication grades 7.4 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 179
  2. Negative: 0 out of 179
179 tv reviews
  1. 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.
  2. 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.
  3. Hood’s methods are unconventional, Eleventh Hour insists, but still, he’s strangely bland.
  4. 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.
  5. 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).
  6. 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.
  7. These cases don't come together so much as they suggest a formula.
  8. Like The Closer, Major Crimes offers utterly predictable crime-solving.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. If Go On isn't breaking new ground, it does manage to find humor, even among the most dour of premises.
  15. With a winning lead player and supporting cast, plus an interesting premise, Moonlight has potential.
  16. 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.
  17. Parts of the show seem archaic, more Life on Mars than life in a 21st century police department. Other parts seem careless bricolage.
  18. 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.
  19. Freddie's stereotypically hard-hitting reporter's persona is soon tiring and irksome. Still, Freddie isn't so tedious as the show's "villains."
  20. Here everyone, even Bosley, seems interchangeable.
  21. 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.
  22. Cole is good and Price is evil. And neither one of them is remotely interesting.
  23. If this kind of comedy fails in its airless context, Todd Margaret's illogical universe can still be entertaining, at least for brief moments.
  24. While the characters remain thinly rendered types and the situations predictable, Orange is the New Black veers from melodrama to slapstick.
  25. The show piles on plot and cliché. You know too much already. And yet, watching her, you realize you can never know enough.
  26. The bar is set reasonably low for police procedurals and there is no reason to think that Memphis Beat can't clear it eventually. However, to "save" Memphis, maybe what the show needs is to let loose and have a little bit of fun.
  27. One needs to hone in on the performers to find reasons to stay engaged, because the plots and premises of Criminal Minds are worn thin as filaments by this point.
  28. They've done very funny work in other shows and movies, from Scrubs to Saving Silverman to 13 Going on 30. If the show would deemphasize its already tired premise, it might be another decent comedy about four quirky friends in the city
  29. Trapped in the hour-long drama structure, the half-hour sitcom that The Mysteries of Laura might long to be never finds its footing.

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