PopMatters' Scores

For 469 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 7.2 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 169
  2. Negative: 0 out of 169
169 tv reviews
  1. If you strip away the designer shoes and drinks, the show is left with all the hallmarks of a typical teen melodrama.
  2. The Taste is a confusing show with humorless banter that does not inspire the audience to become invested in the contestants. It's doubtful that viewers will be coming back for seconds.
  3. 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.
  4. The "medical drama" is far too paltry to sustain the series without ramping up the relevance of the war context.
  5. 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.
  6. 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.
  7. [The show has] married the procedural to melodrama, with occasionally intriguing results.
  8. His being stuck there no matter who shows up, in addition to his out-of-joint flashbacks, makes Crusoe seem something like a proto-Survivor contestant or, weirder, a proto-cast member on Lost. None of this bodes especially well for the series, in terms of repetition and limitation.
  9. Sure, this has all been done before, but familiarity doesn't make Just Legal any less fun.
  10. This sort of banter takes up a good portion of the Castle premiere episode, each instance of it reinforcing the always-already familiar premise.
  11. This unchallenging adaptation of Chris Bohjalian's bestseller wishes it could be American Beauty. Or maybe Desperate Housewives.
  12. 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.
  13. It’s as if quarterlife comes with a prefab drinking game: take one shot when the waterworks start, another if the word “scared” follows.
  14. Happy Town‘s rhythm is like that, pitching between the obvious and the obscure. It’s not yet clear where it’s “snap sharp.”
  15. Why is Charlie here? He doesn’t get involved in the action, only generates equations that are truly unexciting.
  16. 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.
    • 53 Metascore
    • 40 Critic Score
    The two-hour Season Four premiere sends FBI Special Agent Seely Booth (David Boreanaz) and forensic anthropologist Bones Brennan to England, and the result is disappointing, lacking the series’ usual wit and cool science-y stuff.
  17. For now, the Bowers and Joanna provide enough mystery to maintain our interest, but we're left wondering whether the show's compelling start is actually taking us somewhere, or if instead this, too, is only a deception.
  18. Once freed from the scaffolding and backstory constraints of a series premiere, Journeyman may find itself.
  19. [Perception is an] inept, and sometimes offensive, drivel, turning serious mental illness into a chic tic and woefully underestimating the intelligence of its audience.
  20. These cases don't come together so much as they suggest a formula.
  21. It’s this credibility that makes The Beast go. Even when the show trots out cliches (rainy nights, junkie informants and strippers, a pretty blond neighbor/love interest for Ellis [Rose, played by Lindsay Pulsipher]), Charlie is compelling, his many performances jaggedy and surprising, his rhythms weird, his sense of humor entertainingly bleak.
  22. These initial 23 minutes offer a promising mix of rapid banter, smart cultural references, and delightful absurdity.
  23. A little tedious for the rest of us, who have seen such exploration before.
  24. It offers largely pedestrian observations of the difficulties of celebrity.
  25. 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.
    • 50 Metascore
    • 20 Critic Score
    Sadly, this program fails to be either compelling or diverting. Instead, it is a bloated and filler-stuffed waste of time.
  26. The standard pieces are all here, just fit into the hour in a different order.
  27. 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.
  28. The show's acting offers no respite. Scenes unfold very slowly, as characters talk quickly but pause at the end of each speech, often holding a self-satisfied smirk as if listening to an inaudible laugh track.

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