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. Once freed from the scaffolding and backstory constraints of a series premiere, Journeyman may find itself.
  2. With a winning lead player and supporting cast, plus an interesting premise, Moonlight has potential.
  3. The series has laid groundwork for minor and mostly predictable complications.
  4. This is dicey subject matter (especially for those viewers who have struggled to become pregnant or know someone who has), and at times the tone seems blasé, even offensive.
  5. A little tedious for the rest of us, who have seen such exploration before.
  6. 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.
  7. While the particulars of these cases are not uninteresting, they are mostly lost amid the swirl of Jerry and Michelle’s careening between romance and competition, betrayal and “crossing the line.”
  8. 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.
  9. That the pilot fails to provide a foundation for the show’s future direction does not bode well. The only thing that is clear is how much the Claytons dislike Sam.
  10. Patrick dramatizes his sense of superiority, intimidating and irritating just about anyone who comes in contact with him....The Mentalist does offer its own charms, chief among them Baker’s low-key, apparently complicated sarcasm.
  11. Hood’s methods are unconventional, Eleventh Hour insists, but still, he’s strangely bland.
  12. For its part, House of Saddam provides little insight into Saddam Hussein. Instead, it repeats truisms about well-reported events, many of them best remembered as TV images.
  13. Cavanagh and McCormack bring what you know they will--an effective mix of fast talk and easy delivery to pitch the partners’ situations, which range from silly to predictable.
  14. This sort of banter takes up a good portion of the Castle premiere episode, each instance of it reinforcing the always-already familiar premise.
  15. The series doesn’t mean to dig deeply into contemporary African social problems or politics, instead, it offers up middlebrow mysteries that can be solved in an episode’s time, a heroine who is keenly observant and positively feminine, a vague sort of half-step forward from Nancy Drew or Jessica Fletcher.
  16. All this tightly plotted baby nonsense doesn’t feel at all urgent, because, true to form, Nancy’s playing several angles at once, each with its own possibly lethal consequences.
    • 77 Metascore
    • 50 Critic Score
    This commentary on the emptiness of all-consuming family life might fare better were it not brimming with one suburban cliche after another. These cliches don’t indicate Dexter’s discomfort with the banality of his new environment. Instead, they’re just boring.
  17. Despite these obvious missteps and in between the blatant attempts to appease original fans, Night Stalker shows promise.
  18. Lie to Me offers well-designed (and repeatedly, very white) interiors, utterly formulaic scripting, and familiar characters.
  19. To ensure you understand the magnitude of all this emotional mayhem, Maddux helpfully narrates in generically navel-gazing voiceover.
    • 55 Metascore
    • 50 Critic Score
    How interested will viewers be in its fictional scandals when real life offers much more sensational examples of bad behavior?
  20. Even as this plot pattern bodes ill, Margulies and Panjabi make a formidable team.
  21. 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?
  22. 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.
  23. 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.
  24. 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.
  25. 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.
  26. 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.
  27. 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.

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