PopMatters' Scores

For 463 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 7.4 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 165
  2. Negative: 0 out of 165
165 tv reviews
  1. Hood’s methods are unconventional, Eleventh Hour insists, but still, he’s strangely bland.
  2. 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.
  3. 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.
  4. This sort of banter takes up a good portion of the Castle premiere episode, each instance of it reinforcing the always-already familiar premise.
  5. 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.
  6. 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.
    • 79 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.
  7. Despite these obvious missteps and in between the blatant attempts to appease original fans, Night Stalker shows promise.
  8. Lie to Me offers well-designed (and repeatedly, very white) interiors, utterly formulaic scripting, and familiar characters.
  9. To ensure you understand the magnitude of all this emotional mayhem, Maddux helpfully narrates in generically navel-gazing voiceover.
    • 57 Metascore
    • 50 Critic Score
    How interested will viewers be in its fictional scandals when real life offers much more sensational examples of bad behavior?
  10. Even as this plot pattern bodes ill, Margulies and Panjabi make a formidable team.
  11. 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?
  12. 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.
  13. 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.
  14. 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.
  15. 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.
  16. 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.
  17. 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.
  18. The show has been notoriously slow in setting up the plot everyone knows already. While the pokey details have included the protracted not-quite-romance between Erica and Father Jack (Joel Gretsch) and the precise loyalties of black-ops and terrorism expert Hobbes (Charles Mesure), the new year brings at least a veneer of urgency.
  19. As much as they have at stake, neither Vince nor Dana is as much fun to watch as Max. Master of the arched eyebrow and the sly grin, Max is better than a circus act.
  20. A joint effort between Showtime and the BBC, it features British humor and American humor. These don't always play nice together, and Episodes appears unsure of how to make them merge or which to privilege.
  21. They've done very funny work in other shows and movies, from Scrubs to Saving Silverman to 13 Going on 30. If the show would deemphasize its already tired premise, it might be another decent comedy about four quirky friends in the city
  22. 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.
  23. As of one episode, it's decently entertaining, though its sharp writing suggests potential. It's earned my interest for at least a couple of more episodes.
  24. The only thing connecting how Franklin and Bash act inside and outside the courtroom is a general willingness to wing it and hope for the best. But they're not as charming as the show thinks they are, and their triumphs don't seem so great.
  25. 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.
  26. 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.
  27. 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.
  28. Freddie's stereotypically hard-hitting reporter's persona is soon tiring and irksome. Still, Freddie isn't so tedious as the show's "villains."

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