PopMatters' Scores

For 480 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 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 176
  2. Negative: 0 out of 176
176 tv reviews
  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. Ben and Kate has the potential to be a similar sort of low-key, hangout show [like Cougar Town and Raising Hope] that's also very funny.
  8. Despite its early dependence on Western and Gender War clichés, Longmire shows potential.
  9. As the series continues to complicate the relations among past, present, and future, Ellison’s part in any of them is increasingly difficult to frame.
    • 67 Metascore
    • 60 Critic Score
    Smart-ass, angry girls’ solidarity characterizes State of Mind.
    • PopMatters
  10. If it strains our credulity at times, Copper also assumes our intelligence, specifically, for introducing us to an unfamiliar world and, rather than explaining every simple detail, expecting us to keep up with plot and context.
  11. What's ultimately frustrating about The Event is not the lack of answers (though the pilot does conclude with Sophie telling President Martinez, "I haven't told you everything") or the dreadfully lazy characterizations. It's the insistence that the plot somehow taps into something that's happening right now in the United States.
  12. That effort to seem "contemporary" carries over into the plot too: the new task force has "immunity" from the Governor to do whatever it takes to catch the bad guys, the better to keep up with shows like 24, one presumes. They aren't just detectives, they're a special arm of the law that doesn't have to adhere to "procedure" and "regulations."
  13. As fascinating as Madam Secretary can be regarding its global focuses, it’s so far less detailed when it comes to McCord, her family, and her colleagues.
  14. If Go On isn't breaking new ground, it does manage to find humor, even among the most dour of premises.
  15. As the film's "50 state road trip" reveals the multiplicity of these experiences, it shows as well that some "freedoms" have costs.
  16. Assuming that you share its sense of outrage at what Jim Baker and Supremes wrought (in a decision they declared a one-off, not applicable to any future rulings), the movie offers easy targets and conclusions. But to intimate there was a way to “win” if only everyone had played fair, Recount has to back off the entrenched problems and the more horrific conclusion, that the system is rigged and no matter who plays it, the end is the same.
  17. It seems a missed opportunity: the premise of the spoiled rich kid and the sassy poor kid forced to team up is an old story that often works. But both Caroline and Max come across as prep school students who are slumming.
  18. All this worries Fiona, of course, and her compassion keeps Shameless--a remake of a hit British show--from being a glib mockery of poverty. She is the yin to Frank's yang, organized, focused, and efficient.
  19. The story is silly, but not trashy enough to make it your latest guilty pleasure.
  20. Bates Motel isn’t Hitchcock, and doesn’t try to be. But the show does make intelligent use of what you already know about Norma and Norman in their efforts to “start over.”
  21. Forceful but also vulnerable, flawed and brilliant, Liz is plagued by her self-righteousness and, judging by a couple of episodes, the show is plagued by her rightness.
  22. The promos for New Girl suggest that it's something new or at least mildly unusual. But its first episode looks like more of the same.
    • 66 Metascore
    • 70 Critic Score
    In its premiere episode, Once Upon a Time offers a mix of hope and cynicism, coupled with familiar television and film allusions (not unlike the Shreks).
  23. Twisted combines a handful of stereotypical ideas about romanticized teenage criminals with fresh perspectives on how humans understand or fear one another under intense stress.
  24. From a storytelling standpoint, though, the real juice of the show is going to lie in its long-form arcs. It's a delicate balance to maintain, and it will be interesting to see if Person of Interest is up to the challenge.
  25. It’s a co-production with an outside company, poorly scripted and directed.
    • 66 Metascore
    • 70 Critic Score
    Death Comes to Pemberley works so well because the characters are so perfectly realized. Affairs, unwed pregnancies, and murder all abound, but at the heart of the series is the story of a marriage.
    • 65 Metascore
    • 30 Critic Score
    Lacking both comedy and tragedy, Enlisted earns no such commendations.
  26. The River plainly evokes Lost.

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