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 Flag
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. While the characters remain thinly rendered types and the situations predictable, Orange is the New Black veers from melodrama to slapstick.
  2. The show piles on plot and cliché. You know too much already. And yet, watching her, you realize you can never know enough.
  3. 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.
  4. 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.
  5. 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
  6. Trapped in the hour-long drama structure, the half-hour sitcom that The Mysteries of Laura might long to be never finds its footing.
  7. In this second season, only a mild intellectual puzzle stretched over far too many episodes.
  8. Hawley’s film noir plot is reasonably Coen-esque in its twists and misunderstandings and character-motivated actions. But it can’t match the extremely particular style of the inimitable and unpredictable Coens, a target Hawley apparently chose for himself and misses by a country mile.
  9. Intelligence might probe these questions more, and so become richer than the latest show about a tortured male genius outsmarting the bad guys. Or it might just settle for flashy graphics, great action scenes, and underused actors looking good.
  10. Once freed from the scaffolding and backstory constraints of a series premiere, Journeyman may find itself.
    • 58 Metascore
    • 50 Critic Score
    Weird Loners is not so fresh as its title might presume. Its protagonists are more familiar than strange, and their stories are clichéd.
  11. Intra-team melodrama doesn't distract from the film's focus so much as it illustrates it: again and again, the boys declare their need for payback.
  12. This sort of banter takes up a good portion of the Castle premiere episode, each instance of it reinforcing the always-already familiar premise.
  13. For all the characters’ feeble development, though, Scorpion doesn’t drag. And Lin’s action sequences at the end look great as well as ludicrous.
  14. The plots of the first episodes have none of the labyrinthine structure of classic Seinfeld episodes; they feel more like vehicles for prewritten bits. They’re funny, but they don’t sound like regular people talking. This artificial sensibility is exacerbated by various performances.
  15. The show's historical bread-and-butter is accompanied by a thin dramatic gruel, for the most part.
  16. To ensure you understand the magnitude of all this emotional mayhem, Maddux helpfully narrates in generically navel-gazing voiceover.
  17. Lie to Me offers well-designed (and repeatedly, very white) interiors, utterly formulaic scripting, and familiar characters.
  18. While Hung has its stage set to see some of these types of stories play out, scene after scene positions Ray as a cipher for other characters.
  19. Unfortunately, The Secret Circle's first episode doesn't offer much beyond all this plotty set-up. Specifically, it's missing what made other supernatural shows like Buffy the Vampire Slayer, Angel, and Supernatural successful: funny, quirky, and layered characters.
  20. Like other roads in other seasons, those in Manitoba will assuredly begin to look routine over time, leaving show creator and executive producer Thom Beers to rely again on exaggerated danger, overbearing music cues, and personal conflict to provide the drama.
  21. Rhys Meyers is mostly effective during such inserting, exuding exotic appeal and sensitive yearning—at least when he’s gazing on his object of desire from afar. When he speaks, his appeal is dulled by his flattened, put-on American accent, which makes him sound like Chris Pine.
  22. Like so many plot turns in Outlaw, this one is too convenient, too silly, and not a little audacious. It helps that the show knows it.
  23. That Bo’s gifts remain somewhat beyond her control or comprehension makes her a puzzle but also predictable. Bo will indeed be on a winding road, as she must be just a bit of a person who will irritate and mystify her jokester-action-hero protector, as she must seem both odd and sympathetic to the adults watching her, in her world and in yours.
  24. The Fosters needs more than good intentions and tentative, sanitised handling of its subject to survive once a same-sex couple central to a US drama passes unnoticed.
  25. Though she performs a heartfelt song about her mixed emotions, the implication being that Bobby's songs are lies and hers tell truth, the episode's ongoing comedy bits don't support this distinction.
    • 40 Metascore
    • 50 Critic Score
    Combining the flashy trashy aesthetics of reality TV and the rodeo circuit, Rodeo Girls is at its best in the ring itself, as the camera speeds around the barrels with horse and rider.
  26. Why is Charlie here? He doesn’t get involved in the action, only generates equations that are truly unexciting.
  27. The show has been notoriously slow in setting up the plot everyone knows already. While the pokey details have included the protracted not-quite-romance between Erica and Father Jack (Joel Gretsch) and the precise loyalties of black-ops and terrorism expert Hobbes (Charles Mesure), the new year brings at least a veneer of urgency.
  28. Drop Dead Diva seems regularly to be patting silly, charming women on their heads and telling them they're cute, as when Jane's new boyfriend (David Denman) tries to soothe her by saying, "When you get mad, you're pretty adorable." Such irritations undermine the show's kicky surrealism.

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