PopMatters' Scores

For 465 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 7.3 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 166
  2. Negative: 0 out of 166
166 tv reviews
  1. Freddie's stereotypically hard-hitting reporter's persona is soon tiring and irksome. Still, Freddie isn't so tedious as the show's "villains."
  2. 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.
  3. 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.
  4. 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.
  5. Parts of the show seem archaic, more Life on Mars than life in a 21st century police department. Other parts seem careless bricolage.
  6. Here everyone, even Bosley, seems interchangeable.
  7. 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.
  8. 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.
  9. These cases don't come together so much as they suggest a formula.
  10. 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.
  11. 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.
  12. Based on the first two episodes, Alcatraz is a middling show.
  13. 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.
  14. The show's historical bread-and-butter is accompanied by a thin dramatic gruel, for the most part.
  15. Like The Closer, Major Crimes offers utterly predictable crime-solving.
  16. If Go On isn't breaking new ground, it does manage to find humor, even among the most dour of premises.
  17. Save for Sheila, the parents are likable and their circumstances familiar, but Guys with Kids relies too often on predictable jokes.
  18. 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.
  19. 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.
  20. All that said, 666 Park Avenue is diverting enough, if hardly original.
  21. 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.
  22. 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.
  23. Cole is good and Price is evil. And neither one of them is remotely interesting.
  24. 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.
  25. 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.
  26. While the characters remain thinly rendered types and the situations predictable, Orange is the New Black veers from melodrama to slapstick.
  27. 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.
  28. 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.

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