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 7.5 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. 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.
  2. It offers largely pedestrian observations of the difficulties of celebrity.
  3. The standard pieces are all here, just fit into the hour in a different order.
  4. Instead of wink-winking at the audience about its own cleverness, The Goodwin Games mostly keeps things moving along at a snappy pace, with jokes as well. When the show gets too pleased with its own eccentricity, though, it becomes grating.
  5. If the plot is thin, the show does offer other pleasures, including the actors’ improv skills, revealed in subtle and hilarious flashes of genius.
  6. While the mystery genre has a rich history of incisive social commentary animating a compelling investigation, this series struggles to balance an examination of women’s place in post-war Britain and a classic race-against-time mystery.
  7. Bates Motel isn’t Hitchcock, and doesn’t try to be. But the show does make intelligent use of what you already know about Norma and Norman in their efforts to “start over.”
  8. Despite character-based faults and multiple narrative cul-de-sacs, [Parade’s End] does come around to revealing the consequences of maintaining public status and reputation at the cost of personal realization.
  9. It is often funny, but it could be funnier if it were wed to more coherent storytelling.
  10. The result is disappointing, sensationalistic and silly.
  11. Zero Hour‘s first episode ends on one hell of a promising cliffhanger, including a shock that comes out of nowhere but still makes sense. If director Pierre Morel can ask for a few more takes (occasional scenes feel like actors are still rehearsing) and if the script turns as strange as that episode-ending shock suggests it might, Zero Hour may actually be more new than recycled.
    • 86 Metascore
    • 80 Critic Score
    As the fifth season begins, Southland appears to be stronger for its ordeals. The ensemble is streamlined to the most compelling characters and the direction is crisp.
  12. If Community has been an underappreciated gem for the past three years, its fourth season premiere is sadly lackluster. But if the Dean’s episode-ending prediction isn’t entirely convincing, it could be that Guarascio and Port just need more time.
  13. The problem is that the story in between the songs is still inconsistent and muddled.
  14. The dynamic here is already tired.
  15. Cole is good and Price is evil. And neither one of them is remotely interesting.
  16. As much as the series' pitch seems clear--it's another period series, with terrific design details, long story arcs, and complex performances--it is also something else, a reframing of what it might mean to be Americans, then and now.
  17. Although the nature documentary elements are the focus, the added color of travel show features as well, as the general feeling of spontaneity (however carefully cultivated) adds a peculiar appeal to the package.
  18. The Taste is a confusing show with humorless banter that does not inspire the audience to become invested in the contestants. It's doubtful that viewers will be coming back for seconds.
  19. Referencing literary works and imitating horror films may seem derivative, but by drawing from the familiar, The Following obviates the need for extensive exposition and jumps right into the action.
  20. The mix of appealing nerds and lack of truly grating nerds is calculated for viewers' comfort, but the first episode is decidedly bland, too. Viewers looking for a new take on the reality competition genre won't find it here.
  21. Even though Archer does occasionally overwhelm its sharp wit with violent fight sequences or simplistic shocks, it usually recovers with a one-two punch of cool animation and skillful wordplay.
  22. The rest of the show goes on to prize sweetness over superficiality.
  23. 1600 Penn's tone may be apolitical, but it is also very funny.
  24. At last, Sasha is less a collection of TV teenager tropes and more convincingly a Sherman-Palladino creation.
  25. For now, the Bowers and Joanna provide enough mystery to maintain our interest, but we're left wondering whether the show's compelling start is actually taking us somewhere, or if instead this, too, is only a deception.
    • 79 Metascore
    • 80 Critic Score
    [Marnie's] one element in the rich vein of personalities that The Hour only began to mine in its first season, and one of the many reasons the second season is looking very good indeed.
  26. It's a lively conversation that's nicely balanced between oral history and behind the scenes anecdotes.
  27. 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.
  28. At the same time [Eros Hoagland is taking pictures], his process is also the subject of a picture--shaped in part by the remarkable work of photographer and cinematographer Jared Moossy, who shoots all four episodes of Witness--a picture that shows both context and effect, the sort of broad view that might emerge from the most specific images.

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