PopMatters' Scores

For 461 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 Office (UK): Season 1
Lowest review score: 0 Get This Party Started: Season 1
Score distribution:
  1. Mixed: 0 out of 164
  2. Negative: 0 out of 164
164 tv reviews
  1. Summon your patience and settle in for the long haul. By its end, the series' exploration of how ordinary human fallibility is transformed into shocking human depravity is compellingly inventive.
  2. The show, adapted from Robert Kirkman's comic book series, quickly moves past its familiar premise. It's about what happens after the apocalypse, in the struggle to remain human after society's collapse.
  3. To viewers new to the franchise, L&O: UK might prove a fine introduction. For dedicated watchers of the original, it might function as a kind of recap of the "best of" episodes from the series' entire life. But for the truly addicted, it will always be a paler, politer, well-bred echo of the Real Thing, better left on the side of the Atlantic where it originated.
    • 81 Metascore
    • 70 Critic Score
    Millman is closer to Gervais than Brent ever was, and Extras teases out compelling tension from his desperate efforts to enter the world of the glitterati.
  4. The series is essentially light-hearted: Sam is a sweet-natured superhero with a dust-buster. He may be working for the source of all evil, but one can’t help but cheer him on.
  5. We never know how fully such a mix might develop, and in this episode, it seemed undercooked by the end.
  6. Weight of the Nation encourages viewers to feel responsible for their own lives and to make informed choices.
  7. The Oedipal quagmire only enhances the political treachery.
  8. So far, there's no indication that there's enough brewing here to measure up to Season Two, but the show seems to be solidly back on track after the problems of Season Three.
  9. Freddie's stereotypically hard-hitting reporter's persona is soon tiring and irksome. Still, Freddie isn't so tedious as the show's "villains."
  10. Like Wright’s book, the series is disjointed and disturbing, a story of youthful workers who are underprepared, underequipped, and underinformed.
  11. It does tend to love its sublimely self-confident hero, a quick draw and a smartass who nonetheless walks a sort of moral line that baffles his mostly rube-ish opponents. But the show offers other, pleasures that help to make up for what's predictable.
  12. It's a lively conversation that's nicely balanced between oral history and behind the scenes anecdotes.
  13. Even though Archer does occasionally overwhelm its sharp wit with violent fight sequences or simplistic shocks, it usually recovers with a one-two punch of cool animation and skillful wordplay.
  14. In many ways, it was where the series ought to have begun.
  15. Densely plotted and epic in scope, full of graphic violence and lots of sex, it's tremendously entertaining.
  16. While the characters remain thinly rendered types and the situations predictable, Orange is the New Black veers from melodrama to slapstick.
  17. For all the politics, though, what True Blood reveals most consistently is that Arlene is right: all of them—vampire, human, and were—are enslaved in one way or another, by appetites, gifts, power, and family (or pack) bonds, intimating an uneasy commonality across races.
  18. Although Brown repeatedly manipulates behavior, Mind Control ultimately comes across as a refreshingly honest endeavor. The tricks are entertaining, and the explanations revelatory.
  19. At the same time [Eros Hoagland is taking pictures], his process is also the subject of a picture--shaped in part by the remarkable work of photographer and cinematographer Jared Moossy, who shoots all four episodes of Witness--a picture that shows both context and effect, the sort of broad view that might emerge from the most specific images.
  20. A fast moving mix of physical comedy and wry dialogue articulate this friendship, revealing its complexity and its depth.
  21. Valentine Road features a range of interview subjects who voice conflicting concerns and express their discontents, but it also resists casting judgment against one person or another.
    • 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.
  22. If Smash lacks the benefit of Aaron Sorkin's hyper-literate and unmistakable dialogue, it follows Studio 60's format, observing the producers, writers, and actors who collaborate on a show, particularly what happens backstage.
    • 79 Metascore
    • 80 Critic Score
    [Marnie's] one element in the rich vein of personalities that The Hour only began to mine in its first season, and one of the many reasons the second season is looking very good indeed.
  23. The season opener, "Transilience Thought Modifier Unit-11," is so incomprehensible that it suggests a no-compromise posture for the remaining episodes. Which is exactly what the loyal fans want and deserve.
  24. On Freddie Roach [is] Peter Berg's extraordinary six-part HBO series.
  25. The show benefits as well from its lack of exposition, focus on present action, and a ruthless economy of editing rarely seen on primetime TV.
  26. Things chugged along on the island, even if its temporal hiccups were too often reduced to flip dialogue ("When are we?” was the annoying question du jour).
  27. The perversity of this connection cannot be overstated (Smits makes Miguel both charismatic and creepy, often in the same breath). Dexter sees it, though he also yearns for the friendship, the brotherhood, even.

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