PopMatters' Scores

For 492 reviews, this publication has graded:
  • 34% higher than the average critic
  • 5% same as the average critic
  • 61% lower than the average critic
On average, this publication grades 6.8 points lower than other critics. (0-100 point scale)
Average TV Show review score: 58
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 184
  2. Negative: 0 out of 184
184 tv reviews
  1. 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.
  2. Though it’s unclear in three episodes where such ideas might go in Wayward Pines, the show does provide plenty of unanswered questions to pique our interest.
  3. 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.
  4. The Strain reifies its connections between political and melodramatic themes with the gory action for which the series is best known--the monsters’ neck-piercing six-foot tongues, the silver bullets’ exploding effects--in kitschy evidence during the battle against that takes up the bulk of the storage facility scene.
    • 65 Metascore
    • 30 Critic Score
    Lacking both comedy and tragedy, Enlisted earns no such commendations.
  5. The River plainly evokes Lost.
  6. Patrick dramatizes his sense of superiority, intimidating and irritating just about anyone who comes in contact with him....The Mentalist does offer its own charms, chief among them Baker’s low-key, apparently complicated sarcasm.
  7. Parts of the show seem archaic, more Life on Mars than life in a 21st century police department. Other parts seem careless bricolage.
  8. While Hung has its stage set to see some of these types of stories play out, scene after scene positions Ray as a cipher for other characters.
  9. It's surprising that he's [Cross] written a sitcom so reliant on physical comedy, and cast himself in the rather one-dimensional, repetitive main role. The show's best lines possess a crackling absurdity.
  10. When Falling Skies is clicking, it remains a very entertaining show that fills a niche.
  11. As each individual seeks his or her limits, the group is coming together, sharing their difference and their secret. No Ordinary Family is set up to develop these relationships. It is off to a promising start, tweaking a lot of superhero conventions without seeming like a parody.
  12. For every step forward (intricate plotting, Wentworth's engaging lead performance), the show also manages to stumble back (rote subplots, incessant lame dialogue as exposition).
  13. Sleeper Cell is compelling television primarily for its excellent performances and chilling premises, rather than its plots. Alarming as these may be, they are rendered here with predictable rising and falling action, a bit of romance, and some tidily resolved conflicts.
  14. Based on co-creator Tom Perrotta’s 2011 book, The Leftovers imagines a range of responses (and too often, responses accompanied by anxiety-making piano or violin trills).
  15. Like The Closer, Major Crimes offers utterly predictable crime-solving.
  16. It's more interesting when Elaine takes aim at the easy-target man's world she inhabits.
  17. Cavanagh and McCormack bring what you know they will--an effective mix of fast talk and easy delivery to pitch the partners’ situations, which range from silly to predictable.
  18. American Horror Story: Asylum reintroduces the first season's nightmarish craziness but also sets it within a coherent basic history. It helps too that the new cast appears to be so tight.
  19. Nick Doob and Shari Cookson’s decision to use such “found footage” makes their film at once immediate and distressingly distanced, as it offers images both ordinary and specific, families and individuals posing for photos, their faces turned to the camera.
  20. Lie to Me offers well-designed (and repeatedly, very white) interiors, utterly formulaic scripting, and familiar characters.
  21. There's a lot of clunky setup, a lot of piece-moving to send the main characters back to Terra Nova, and a lot of explaining of rules once they get there.
  22. These political hiccups are unfortunate, but not deal-breakers. Bored to Death is undeniably smart, and so it could very well be laying the groundwork for all these wincing moments to be properly unpacked by an apt post-modern femme fatale (mom?).
  23. Unfortunately, the best bits of the premiere were the flashbacks to the finale, though their impact was watered down considerably in the context of an action-less storyline, filled with Grey's usual rambling pontifications.
  24. So no, the jokes aren't as haute as the cuisine. But presentation, on the plate or on television, goes a long way, and Confidential has the look of a winner.
  25. This is not a show that wants to be analyzed. Rather, it demands that you enjoy it. And there is plenty of humor to mine in the premise.
    • 64 Metascore
    • 70 Critic Score
    Love Monkey is an anomaly, an intelligent, well-written dramedy for adults about adults, even if some of the chords it hits are in a minor key.
  26. Details of color and composition do the work usually handled by too much expository dialogue, granting access to Dani and Charlie’s thinking.
    • 64 Metascore
    • 60 Critic Score
    Perabo shows herself capable of playing Walker tough or sweet, clueless or competent. Unfortunately, in the span of a single episode, she's asked to do all of the above.

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