PopMatters' Scores

For 487 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 180
  2. Negative: 0 out of 180
180 tv reviews
  1. A little tedious for the rest of us, who have seen such exploration before.
  2. 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.
  3. 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.
  4. 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?
  5. 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.
  6. 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.
  7. 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.
  8. Napoleon Dynamite the series forms its comedic syntax in the vernacular of those established shows [The Simpsons, Family Guy] instead of retaining the singular phrasing of Napoleon Dynamite the movie, and suffers as a result.
  9. Based on the first two episodes, Alcatraz is a middling show.
  10. 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.
  11. 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.
    • 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?
  12. It just needs sharper writing, and the supporting cast needs to be developed. While Kaling and Messina are charming and work well together, the rest of the show needs to catch up.
    • 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.
  13. 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.”
  14. Tell Me You Love Me begins within confines, its white, middle class, straight couples all dealing with versions of the same problem. That this focus might be "real" is not the question. More troubling, for a series banking on its newness, is that the focus is so familiar.
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  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. Maybe ABC’s social media strategy should include posting only the last scene of this episode and pretend the rest of it never happened. That, and changing the title.
  21. 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.
  22. In its first season, Love in the Wild was thoroughly mediocre. But any improvements this year are sadly negated by the presence of McCarthy.
  23. 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.
    • 86 Metascore
    • 50 Critic Score
    Regardless of historical veracity, though, some of the drama here is shopworn.
  24. If the first offering, "Incident On and Off a Mountain Road," is any indication, the hoped-for resurrection of in-your-face frights is still a couple of corpses away.
  25. Save for Sheila, the parents are likable and their circumstances familiar, but Guys with Kids relies too often on predictable jokes.
  26. 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.
  27. Unfortunately, the pilot doesn't suggest that there is anything more interesting at work here than a weak attempt to wring laughs out of aliens who are buffoons.

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