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 Office (UK): 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
    • 69 Metascore
    • 80 Critic Score
    The most effective scenes focus on characters' interactions, the sorts of moments Torchwood always did well.
  1. The connections are sudden, relationships shallow, and dialogue glib.
  2. With the relationships among MacMillan, Clark, and Howe in the foreground, Halt and Catch Fire makes impressive use of its time period without treating it as an elbow-to-the-ribs joke.
  3. The conspiracy here is grounded in human activity and ambition, rather than aliens or supernatural forces.
  4. In HBO's miniseries Mildred Pierce, beginning on 27 March, she embodies the sort of ambition and resilience that might seem ideal during a depression-or even a great recession. That is, she's a function of her time (the one first imagined for her by James M. Cain) as well as ours.
  5. The show's historical bread-and-butter is accompanied by a thin dramatic gruel, for the most part.
  6. It just needs sharper writing, and the supporting cast needs to be developed. While Kaling and Messina are charming and work well together, the rest of the show needs to catch up.
  7. While the interviewees here can look back and put pieces together, fragmentation and lack of focus may be Gettysburg's most authentic effect.
  8. If Community has been an underappreciated gem for the past three years, its fourth season premiere is sadly lackluster. But if the Dean’s episode-ending prediction isn’t entirely convincing, it could be that Guarascio and Port just need more time.
  9. It's an exhilarating take on a couple of familiar genres, balancing horror, humor, and heart.
  10. The comedy that does occur in How I Met Your Mother isn't enough to compensate for its inconsistencies.
  11. C.S.I.: Miami is very slick, very clever, and very eager to please.
  12. As George W. Bush describes his thinking on September 11, it's hard not to wonder, well, what he was thinking. It's a mystery that remains unanswered in George W. Bush: The 9/11 Interview.
  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. It's more subtly, and more forcefully too, a quest for understanding, specifically an understanding of how the world works.
  15. Though the show occasionally lapses into the “cringe comedy” mode, made popular by "The Office" and "Curb Your Enthusiasm," "Flight of the Conchords" is also quite sweet.
    • 68 Metascore
    • 50 Critic Score
    So aggressive is RENO 911!'s low-budget affect (not to mention its inconsistent pace and sometimes flat humor) that Cops looks positively polished by comparison. ... Still, and especially in its improvisational moments, RENO 911! offers occasionally engaging spontaneity.
  16. As before, The Bridge loses its own focus frequently, sliding off into multiple storylines that follow pairs of characters, some less interesting than others, some downright distracting. But for all the time that feels misspent on Charlotte and her idiot boyfriend Ray (Brian Van Holt) or the self-deluding addict reporter Frye (Matthew Lillard) and his long-suffering partner Adriana (Emily Rios), The Bridge offers brief moments that resonate and sometimes, even chill.
  17. Some of this talent is visible in the premiere episode's poetic counterbalancing of empty landscapes and claustrophobic casino back-offices, and actors' convincing performances.... When it comes to plotting and scripting, though, Vegas is far less sure-footed.
  18. The film is about effects--about anger and guilt, pain and exasperation. It's about that "wish to remember" and also to know, or even just to be able to live with not knowing.
    • 68 Metascore
    • 60 Critic Score
    Those who enjoy Sons & Daughters enjoyed Arrested Development more, and the same viewers put off by the latter's off-the-wall humor will also be put off the new show.
  19. If it’s not an ingenious or very new device (see: Nina, Tony, Curtis, et. al.), the damaged soul who is Jack’s Self Reflected re-raises and continues to complicate the questions that are typically understood as resolved in Jack. Patriotism and heroism, bad choices and hideous torture in the name of a big picture: it’s 24 repeating.
  20. 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.
  21. Celia is facing some judgment of her own this season. Her not-entirely separate saga makes up the other half of Weeds‘ new start, such that the show is cleaved down its center, cutting awkwardly back and forth between Celia now imprisoned and Nancy fancy-free.
    • 67 Metascore
    • 60 Critic Score
    While the portrayal of the disorder is gimmicky, the show sustains a particular charm, thanks to solid performances and its honest treatment of the complex relationships in this unconventional family.
  22. The formula set in motion by the Fringe pilot is familiar. That’s not to say it’s not also devious and often delightful.
  23. Again and again, Ethel insists she doesn't like to "talk about" her self, doesn't like to be introspective. And so the film offers images for the rest of us to parse, public performances that may or may not reveal what we want to see.
  24. Set in 1963, Pan Am's production is highly stylized, neat, and dreamy, perfectly suited to the nostalgia it is eager to evoke.
  25. It’s a co-production with an outside company, poorly scripted and directed.
  26. Despite its early dependence on Western and Gender War clichés, Longmire shows potential.

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