PopMatters' Scores

For 454 reviews, this publication has graded:
  • 32% higher than the average critic
  • 5% same as the average critic
  • 63% lower than the average critic
On average, this publication grades 8 points lower than other critics. (0-100 point scale)
Average TV Show review score: 57
Highest review score: 100 The Flag: Season 1
Lowest review score: 0 Get This Party Started: Season 1
Score distribution:
  1. Mixed: 0 out of 158
  2. Negative: 0 out of 158
158 tv reviews
  1. To ensure you understand the magnitude of all this emotional mayhem, Maddux helpfully narrates in generically navel-gazing voiceover.
    • 57 Metascore
    • 50 Critic Score
    How interested will viewers be in its fictional scandals when real life offers much more sensational examples of bad behavior?
  2. Even as this plot pattern bodes ill, Margulies and Panjabi make a formidable team.
  3. Unlike crime dramas, when the body is usually cleanly dead, by its very nature Three Rivers lingers on the processes of death and near-death at both ends of the story. Just how many poignant farewells can an audience take?
  4. 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.
  5. 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.
  6. The reason we might stick around is Audrey Parker. She also provides an alternative to the usual dark mystery associated with Stephen King's work.
  7. More often, the show is a show: the camera cranes out to show Cathy's loneliness, the half-hour closes with a bittersweet pop song or the point is made too obviously ("Cancer's not a passport to a better life, cancer's the reason I'm not gonna have a life"). Still, the show does illustrate a useful idea, that what you think is "normal" is only that, what you think.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. 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
  14. You might be thankful that Sam has explained his job, with so many un-blocked metaphors, if you've never seen a show like Criminal Minds: Suspect Behavior before. But because you've seen too many shows like this and too many teams like his, you're unimpressed. You're already too many steps ahead.
  15. 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.
  16. 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.
  17. 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.
  18. As her professional relationship with Little develops, he clearly becomes the kind father she's been missing. And then there's that fiance at the premiere, never mentioned by name or appearing at any other point in the film, as if to suggest that with a proper male partner, Rowling's success is really complete.
  19. Despite some obvious faults, Strike Back is a decent enough action yarn with slick production values. At the same time, though, the series is more concerned with gratuitous nudity--this is Cinemax, after all, so each episode includes a lifetime's worth of breasts and butt cheeks-than creating a story with any substance, character, or emotional weight.
  20. Freddie's stereotypically hard-hitting reporter's persona is soon tiring and irksome. Still, Freddie isn't so tedious as the show's "villains."
    • 58 Metascore
    • 50 Critic Score
    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.
  21. 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.
  22. It seems a missed opportunity: the premise of the spoiled rich kid and the sassy poor kid forced to team up is an old story that often works. But both Caroline and Max come across as prep school students who are slumming.
  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. Here everyone, even Bosley, seems interchangeable.
  25. Like so many crime novel adaptations, Case Histories leaves the audience with a faint echo of a delightful original, oozing with talent, budget, and location shooting, and almost bereft of compelling content.
  26. The writers need to differentiate how Allen Gregory relates to Jeremy from how he relates to Julie. If the show had Allen Gregory treat Jeremy and Julie differently, there'd be more opportunity for a wider variety of jokes, including some that don't involve yelling.
  27. These cases don't come together so much as they suggest a formula.
  28. 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.