PopMatters' Scores

For 460 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 7.5 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 163
  2. Negative: 0 out of 163
163 tv reviews
  1. If the plot is thin, the show does offer other pleasures, including the actors’ improv skills, revealed in subtle and hilarious flashes of genius.
  2. Instead of wink-winking at the audience about its own cleverness, The Goodwin Games mostly keeps things moving along at a snappy pace, with jokes as well. When the show gets too pleased with its own eccentricity, though, it becomes grating.
  3. It offers largely pedestrian observations of the difficulties of celebrity.
  4. When Falling Skies is clicking, it remains a very entertaining show that fills a niche.
  5. Although it’s worth reserving judgment on the disposition and spirit of Under the Dome until we’ve seen at least a handful of episodes, it’s fair to say that the pilot embraces the material’s pulpier elements, with none of Lost’s nerdy digression or philosophical trolling.
  6. C.S.I.: Miami is very slick, very clever, and very eager to please.
  7. Somehow, this ludicrous premise and uneven plot elements cohere into a fast-moving, exciting hour.
  8. It’s to this busy show’s credit that the pilot doesn’t feel disjointed. All of these disparate parts are working more or less harmoniously.
  9. The team assembled in the first episode is less a team and more a loose collection of brooding loners.... [Phil Coulson (Clark Gregg) is] an oasis amid all this peevishness.
  10. If the daily competitions for commissions don’t quite match the savagery of the male-on-male contests in Glengarry Glenross or In The Company of Men, they remain vicious enough to give the otherwise fluffy plotting a little bite.
  11. Walton’s Will is more jovial and goofy, a ladies’ man with at least one good and honest friend his own age in Andy. He’s also the primary reason to give NBC’s About a Boy any sort of chance to develop its formula.
  12. This is pretty much how it goes on Chicagoland: Emmanuel against everyone else.
  13. You’re left to wonder about what she sees, or whether she believes what she sees, a set of questions that might be intriguing (watching her distraught face as she watches herself) or annoying (watching her vaguely worried face as she spots a stranger at the end of her driveway in the dead of night).
  14. For every step forward (intricate plotting, Wentworth's engaging lead performance), the show also manages to stumble back (rote subplots, incessant lame dialogue as exposition).
  15. 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.
  16. 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.
  17. Kid Nation does not mean to find out whether kids can do what adults could not. It means instead to demonstrate that these kids really would die without the intervention of adults.
  18. Once freed from the scaffolding and backstory constraints of a series premiere, Journeyman may find itself.
  19. With a winning lead player and supporting cast, plus an interesting premise, Moonlight has potential.
  20. The series has laid groundwork for minor and mostly predictable complications.
  21. 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.
  22. A little tedious for the rest of us, who have seen such exploration before.
  23. 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.
  24. 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.”
  25. 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.
  26. 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.
  27. 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.
  28. Hood’s methods are unconventional, Eleventh Hour insists, but still, he’s strangely bland.
  29. 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.
  30. 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.

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