PopMatters' Scores

For 481 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 6.9 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 177
  2. Negative: 0 out of 177
177 tv reviews
    • 51 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.
  1. A little tedious for the rest of us, who have seen such exploration before.
  2. The standard pieces are all here, just fit into the hour in a different order.
  3. 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.
  4. These initial 23 minutes offer a promising mix of rapid banter, smart cultural references, and delightful absurdity.
  5. It offers largely pedestrian observations of the difficulties of celebrity.
  6. 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.
  7. 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.
  8. 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.
  9. The trouble is, they don't surprise you. Their routes to redemption are laid out early and often.
  10. Like the Osbournes, Whitney and Bobby, the Simmons, the Kardashians, and the Hammers, they perform themselves: they talk to the camera, they act out, they make complain and look to score points.
  11. With so much going on, one would expect Swingtown to be exciting, but it’s not. Behavior that was scandalous in the ‘70s isn’t today.
  12. Running Wilde demonstrates a distinct lack of its predecessor's lightning speed and intense saturation of jokes. This may be a structural issue: Running Wilde doesn't offer an intricate ensemble cast, but only the usual sit-commy supporting array, a wacky neighbor and a couple of crazy servants.
  13. With its stilted scenes, canned laughter, and handwringing about marriage, Whitney feels more like a step backward.
  14. Most viewers will recognize the South Park-like humor, critiquing the problem by critiquing the mainstream response to it. But unlike South Park, which usually offers something like “hope”(however sarcastically rendered), High School USA! is mostly just bleak.
  15. Despite these obvious missteps and in between the blatant attempts to appease original fans, Night Stalker shows promise.
  16. Animal Practice seems to know exactly what it wants to do, it just isn't any good at it.
  17. 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.”
  18. Some celebrities will surely offer better material to edit than Hasselhoff, famous and not. Future episodes promise encounters with Reggie Bush, Kathy Griffin, and Mike Tyson. Tyson in particular may bring just enough crazy to the table to tip the genre scales back to train wreck.
  19. For all the characters’ feeble development, though, Scorpion doesn’t drag. And Lin’s action sequences at the end look great as well as ludicrous.
  20. 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?
  21. The show seems aware of the questions raised by this narrative dynamic, but hasn't sorted out a way to do more than note them.
    • 48 Metascore
    • 70 Critic Score
    While some subplots are trite (a nurse turns down a paramedic’s romantic overtures, saying she’s “damaged goods"), the premiere hums along whenever Hawthorne is driving it.
  22. Feels strangely empty and hamstrung.... If you like your soaps without novelty, nuance, or bite, Related has four girls for you.
  23. 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.
  24. For starters, they need to offer intriguing characters and meticulous plotting. The first episode of Chase provides neither.
    • 47 Metascore
    • 30 Critic Score
    Not at all intelligent, the show is pretty much immune to any form of legitimate criticism, and further, it will likely be gone within the first few weeks of this television season.
    • 46 Metascore
    • 40 Critic Score
    The first episode offers little to recommend. However, if the show can keep up with the boys as they undergo their own awakenings, then it might eventually offer something fresh to the campus comedy canon. If not, the series will become a comedy of last resort.
  25. The jokes fly furiously during the first episode, and the delivery is impeccable all around.
  26. 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.

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