PopMatters' Scores

For 480 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 points lower than other critics. (0-100 point scale)
Average TV Show review score: 57
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 176
  2. Negative: 0 out of 176
176 tv reviews
  1. There are a few elements of Silicon Valley that are still works in progress at this point. The force of Miller’s personality can be overwhelming, and a little of Erlich goes a long way.
  2. He anticipates pretty much every move made against him, as you might as well, given that they’re made by people designed to remind you of previous people in Jack’s universe.
  3. With the relationships among MacMillan, Clark, and Howe in the foreground, Halt and Catch Fire makes impressive use of its time period without treating it as an elbow-to-the-ribs joke.
  4. As before, The Bridge loses its own focus frequently, sliding off into multiple storylines that follow pairs of characters, some less interesting than others, some downright distracting. But for all the time that feels misspent on Charlotte and her idiot boyfriend Ray (Brian Van Holt) or the self-deluding addict reporter Frye (Matthew Lillard) and his long-suffering partner Adriana (Emily Rios), The Bridge offers brief moments that resonate and sometimes, even chill.
  5. While the designated flawed hero John espouses an essential grasp of the purpose of medicine and the workings of disease (“Despite what you may believe,” he tells Cornelia, “Sickness isn’t a result of poor character, germs don’t examine your bankbook”), he’s also stymied, by his own prejudices as well as money concerns. That these might take him in different directions suggests the series has some sense of the difficulty of medicine then and still.
  6. Some of the characters aren’t able to achieve the same balance between fantasy and realism as the rest of the show.... Thankfully, Mooney isn’t as central a figure here as Bullock or Gordon, who together are fully capable of carrying the series, even without young Bruce. Logue gives an especially strong performance as Bullock, an exhausted, veteran crime-fighter who remains likable and charismatic even as his various failings seem inevitable.
  7. Everything in the first episode suggests that Forever has a better shot at successfully combining procedural conventions and a high-concept than, say, Intelligence or Almost Human.
  8. While Keating is immediately a compelling character, it is unfortunate that so much of the pilot episode requires the viewer to suspend disbelief, starting with the idea that a top-notch defense attorney would allow a class of newbie law students unfettered access to all documents in a case that she is currently defending.
  9. A compelling mystery, it maintains a measured pace, inviting viewers’ patience.
    • 66 Metascore
    • 70 Critic Score
    Death Comes to Pemberley works so well because the characters are so perfectly realized. Affairs, unwed pregnancies, and murder all abound, but at the heart of the series is the story of a marriage.
  10. The Flash sports a great cast, visually well-designed sets and effects, and the pace and atmosphere reflect the deft hands of directors and crew. But a superhero show can’t live on those elements alone.
  11. It helps that Bell is able to suggest complexity, emotional and moral, even when the dialogue fails her.
  12. [The show has] married the procedural to melodrama, with occasionally intriguing results.
    • 68 Metascore
    • 60 Critic Score
    Those who enjoy Sons & Daughters enjoyed Arrested Development more, and the same viewers put off by the latter's off-the-wall humor will also be put off the new show.
    • 34 Metascore
    • 60 Critic Score
    Funny but inconsequential.
  13. The writer-director makes some inspired, insightful cinematic choices. However, the play’s untidiness--it’s one of Shakespeare’s most mischievous--virtually guarantees a final product distinguished by individual performances rather than dramatic consistency.
    • 67 Metascore
    • 60 Critic Score
    Smart-ass, angry girls’ solidarity characterizes State of Mind.
    • PopMatters
    • 74 Metascore
    • 60 Critic Score
    A good-natured show with a convincing sense of fun and a likeable cast, Chuck also has the wit, confidence, and grasp of the cultural climate to turn a running joke about a celebrity porn site into a major plot device.
  14. The shaman contrivance is surely tedious, but it appears that New Amsterdam uses the immortal design not as a way to Forrest-Gump its protagonist into a set of trite historical situations, but more cleverly, to ask questions about those situations.
  15. Forceful but also vulnerable, flawed and brilliant, Liz is plagued by her self-righteousness and, judging by a couple of episodes, the show is plagued by her rightness.
  16. Assuming that you share its sense of outrage at what Jim Baker and Supremes wrought (in a decision they declared a one-off, not applicable to any future rulings), the movie offers easy targets and conclusions. But to intimate there was a way to “win” if only everyone had played fair, Recount has to back off the entrenched problems and the more horrific conclusion, that the system is rigged and no matter who plays it, the end is the same.
  17. With this shaded tone and careful plotting going for it, In Plain Sight is a welcome addition to USA’s line-up of detective shows. Especially when it keeps focused on the new places and new identities, rather than the old memories.
  18. Celia is facing some judgment of her own this season. Her not-entirely separate saga makes up the other half of Weeds‘ new start, such that the show is cleaved down its center, cutting awkwardly back and forth between Celia now imprisoned and Nancy fancy-free.
  19. As before, the “big picture” plotlines are often the least convincing, mostly because the trippy angel talk is tough to pull off.
  20. True, the episode threatened to jump the shark when it was revealed that James (Patrick Heusinger), the unsuspecting man Blair corralled to play of the part of her wonderful new boyfriend, had his own secret, ludicrous even by Gossip Girl standards. But in the coming episodes, Blair and Chuck retain their place as the series’ most exciting kids in turmoil, its salacious center.
  21. It’s especially good when the mission is as preposterous as this one. True to Prison Break form, the new season is laid out as a series of tasks, the retrieval of The Company’s most vital information, stored on what is essentially a digital black book (as opposed to hole).
  22. When Tara and Sookie speak truth to each other (or seem to), True Blood is almost shrewd.
  23. As the series continues to complicate the relations among past, present, and future, Ellison’s part in any of them is increasingly difficult to frame.
    • 58 Metascore
    • 60 Critic Score
    While the show doesn’t (yet) expand on its opening diagnosis of the “New Gilded Age,” it just might offer more careful consideration of other possibilities of self-interest.
  24. Dani of the Perfectly Tousled Locks watches Charlie for the rest of us, her responses shaping ours.

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