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. 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.
  2. Based on the first two episodes, Alcatraz is a middling show.
  3. Despite pacy editing, superb action choreography, and location shooting across Europe, the whole turns out to be yet another re-run of that updated Western, 24, which pits an arrogant outlaw protagonist against friend and foe alike.
  4. The show's historical bread-and-butter is accompanied by a thin dramatic gruel, for the most part.
  5. Like The Closer, Major Crimes offers utterly predictable crime-solving.
  6. If Go On isn't breaking new ground, it does manage to find humor, even among the most dour of premises.
  7. Save for Sheila, the parents are likable and their circumstances familiar, but Guys with Kids relies too often on predictable jokes.
  8. 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.
  9. 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.
  10. All that said, 666 Park Avenue is diverting enough, if hardly original.
  11. Though she performs a heartfelt song about her mixed emotions, the implication being that Bobby's songs are lies and hers tell truth, the episode's ongoing comedy bits don't support this distinction.
  12. 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.
  13. Cole is good and Price is evil. And neither one of them is remotely interesting.
  14. 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.
  15. Why is Charlie here? He doesn’t get involved in the action, only generates equations that are truly unexciting.
    • 68 Metascore
    • 50 Critic Score
    So aggressive is RENO 911!'s low-budget affect (not to mention its inconsistent pace and sometimes flat humor) that Cops looks positively polished by comparison. ... Still, and especially in its improvisational moments, RENO 911! offers occasionally engaging spontaneity.
    • 79 Metascore
    • 50 Critic Score
    While the characters remain thinly rendered types and the situations predictable, Orange is the New Black veers from melodrama to slapstick.
  16. When so much of the series depends on psychological nuance, the lurch into Hollywood action thriller confrontations is an outright admission of defeat. Sensationalism trumps subtlety once more. Both Luther and Idris Elba deserve so much more.
    • 85 Metascore
    • 50 Critic Score
    Regardless of historical veracity, though, some of the drama here is shopworn.
  17. Rhys Meyers is mostly effective during such inserting, exuding exotic appeal and sensitive yearning—at least when he’s gazing on his object of desire from afar. When he speaks, his appeal is dulled by his flattened, put-on American accent, which makes him sound like Chris Pine.
    • 40 Metascore
    • 50 Critic Score
    Combining the flashy trashy aesthetics of reality TV and the rodeo circuit, Rodeo Girls is at its best in the ring itself, as the camera speeds around the barrels with horse and rider.
  18. Intelligence might probe these questions more, and so become richer than the latest show about a tortured male genius outsmarting the bad guys. Or it might just settle for flashy graphics, great action scenes, and underused actors looking good.
  19. As a prestige show, it’s so serious, portentous, and polished, it’s not very much fun at all, so intent on wrapping its package in money and style that it forgets to put anything inside.
  20. The show piles on plot and cliché. You know too much already. And yet, watching her, you realize you can never know enough.
  21. That Bo’s gifts remain somewhat beyond her control or comprehension makes her a puzzle but also predictable. Bo will indeed be on a winding road, as she must be just a bit of a person who will irritate and mystify her jokester-action-hero protector, as she must seem both odd and sympathetic to the adults watching her, in her world and in yours.
  22. Hawley’s film noir plot is reasonably Coen-esque in its twists and misunderstandings and character-motivated actions. But it can’t match the extremely particular style of the inimitable and unpredictable Coens, a target Hawley apparently chose for himself and misses by a country mile.
  23. Had Keenan and Lloyd devoted more time to providing their characters with depth and less to flinging insults, viewers might have developed empathy for them and better understood why they feel such aggression toward one another.
  24. Hopper [is] so misfitted for this role that he seems perversely perfect.
  25. Anyone who learned politics from The West Wing will feel adrift in Commander in Chief's vacuum. Where are the polls, the clamoring press? We get little proof that the nation President Allen governs even exists.
  26. Conviction is an awkward show.