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 Flag
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
  1. The supernatural premise underlying Bella’s quest may be fantastic, but the urgent desire to find a husband “before it’s too late” is unfortunately all too common.
  2. This is pretty much how it goes on Chicagoland: Emmanuel against everyone else.
  3. It’s not new or challenging or even very strange. It is, however, plenty quirky.
  4. The lack of cynicism is at least a bit unusual in the current sitcom universe, conferring novelty and a genuine, rather than confected, sweetness.
  5. My Own Worst Enemy looks like it’s been assembled from the leftovers of other pop-culture heavyweights.
  6. The Good Guys, true to its genre, presents an opposition between order and anarchy and asks the audience to embrace the apparently crazy cop who, in the tradition of American pragmatism, cuts through the red tape to get things done.
  7. Even though Parenthood‘s parents are all making completely misguided choices, the series doesn’t consider these as a means to education, through which the adults might reach that kind of self-awareness. That lack of consideration is the series’ most unfortunate waste of a promising storyline, one that could have imbued this second version with something refreshing or even revelatory.
  8. It’s especially good when the mission is as preposterous as this one. True to Prison Break form, the new season is laid out as a series of tasks, the retrieval of The Company’s most vital information, stored on what is essentially a digital black book (as opposed to hole).
  9. Entourage underscores how tenuous hegemonic masculinity is--and how much it depends on everyone playing his part.
    • 61 Metascore
    • 60 Critic Score
    Royal Pains is a pleasant excursion, with some great one-liners and a chance to tweak its well-worn formula.
  10. They've done very funny work in other shows and movies, from Scrubs to Saving Silverman to 13 Going on 30. If the show would deemphasize its already tired premise, it might be another decent comedy about four quirky friends in the city
  11. Like so many crime novel adaptations, Case Histories leaves the audience with a faint echo of a delightful original, oozing with talent, budget, and location shooting, and almost bereft of compelling content.
  12. As White Heat covers so much historical ground--and offers a range of aging makeup effects--it suffers on occasion from a lack of humour.
  13. The performance and the script's stretches (stick around for Peterson's climactic strip search) are less convincing than campy.
  14. On the evidence of the first two episodes, Resurrection seems just one more twist on an American obsession with investigating what lies beneath the surfaces of rural or suburban idylls. As a device to tell the same old stories about illicit love affairs, family estrangement, hidden crimes, and the secrets parents keep from children and visa versa, the arbitrary resurrection of the dead seems pretty extreme, and, frankly, a wasted opportunity.
  15. In another series on another network, Kate might have stood out. Stuck on USA, though, she's an extraordinary woman on an ordinary show.
  16. If the show has the courage to probe this very contemporary evolution, Abby's tenure at IA might provide grown-up drama for women of an age more often served by sexist sitcoms. And if not, Lifetime may be delivering just another old-fashioned family drama with nothing new to say.
  17. Fittingly--and disappointingly--his fame-hungry characters don’t raise questions concerning politics or inhabit any realm of social interest; they are as vapid as their environment.
  18. How To Make It delivers a conventional story with uncommon panache. It’s fun, especially for guys, but it’s aiming for boutique liquor and only tastes like high-end latte.
  19. Ringer is at times cleverly handled, suggesting numerous plot avenues for the future. Unfortunately, Gellar's wooden performance in the premiere episode doesn't bode well.
  20. One could watch NCIS: Los Angeles. But one could also watch paint dry with far less pain and no less gain.
  21. The film offers a version of the real Mitt, performative and authentic, charming and awkward, occasionally at the same time.
  22. Tell Me You Love Me begins within confines, its white, middle class, straight couples all dealing with versions of the same problem. That this focus might be "real" is not the question. More troubling, for a series banking on its newness, is that the focus is so familiar.
  23. The rest of the show goes on to prize sweetness over superficiality.
  24. While you want to love the mere existence of Octavia Spencer on TV every week, the show works awfully hard to make this hard.
    • 58 Metascore
    • 60 Critic Score
    While the show doesn’t (yet) expand on its opening diagnosis of the “New Gilded Age,” it just might offer more careful consideration of other possibilities of self-interest.
  25. Once it gets past the cumbersome background exposition, The Finder begins to find its specific groove.
  26. Combing broad strokes and detailed color on an extensive canvas, Kings makes the rewards and costs of ambition plain for all to see.
  27. When one cuts through its mix of slight pleasures and leaden annoyances, it's apparent that Dinosaur Revolution is not revolutionary in form or content, and moreover, that its melding of entertainment with science ends up disfiguring both.
  28. As of one episode, it's decently entertaining, though its sharp writing suggests potential. It's earned my interest for at least a couple of more episodes.

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