PopMatters' Scores

For 464 reviews, this publication has graded:
  • 32% higher than the average critic
  • 5% same as the average critic
  • 63% lower than the average critic
On average, this publication grades 7.3 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 166
  2. Negative: 0 out of 166
166 tv reviews
    • 72 Metascore
    • 80 Critic Score
    What makes Hit & Miss one of the strongest UK dramas to hit US TV so far this year is its reframing of such high-concept premises within unsensational contexts.
  1. The season opener, "Transilience Thought Modifier Unit-11," is so incomprehensible that it suggests a no-compromise posture for the remaining episodes. Which is exactly what the loyal fans want and deserve.
    • 79 Metascore
    • 80 Critic Score
    [Marnie's] one element in the rich vein of personalities that The Hour only began to mine in its first season, and one of the many reasons the second season is looking very good indeed.
  2. 1600 Penn's tone may be apolitical, but it is also very funny.
  3. As much as the series' pitch seems clear--it's another period series, with terrific design details, long story arcs, and complex performances--it is also something else, a reframing of what it might mean to be Americans, then and now.
    • 86 Metascore
    • 80 Critic Score
    As the fifth season begins, Southland appears to be stronger for its ordeals. The ensemble is streamlined to the most compelling characters and the direction is crisp.
  4. While Kieren does contend with zombie-style gore, the show isn’t a kill-fest like The Walking Dead. But as it raises the sorts of questions that classic zombie fare, In the Flesh also draws some perceptive connections to our own social and political contexts.
  5. Even as all of these seeming oppositions are set up, the show insists on the blurring of lines, the bridges as well as the borders.
  6. 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.
  7. Even the actors in the smallest roles are three-dimensional, a rich tribute to Britain’s theatrical talent. If these are, as Horowitz claims, the last episodes of Foyle he writes, both he and his longtime actor-collaborators are bowing out on a very high note indeed.
  8. The jokes fly furiously during the first episode, and the delivery is impeccable all around.
  9. Valentine Road features a range of interview subjects who voice conflicting concerns and express their discontents, but it also resists casting judgment against one person or another.
  10. The show is becoming more complex along with its characters, and as a result, the viewer feels a greater investment.
  11. It’s not always clear what either woman gains from the friendship, and while maintaining the imbalance of power would feed the show’s bleakly comic seam, the fourth episode’s final scene suggests an impending shift when both Em and Doll audition for the same role, creating new and welcome tensions going forward.
  12. The Escape Artist is unusually willing not to let the audience off the hook, and instead, to help us understand that the pursuit of substantive justice may prove as dangerous as the crimes it seeks to right.
  13. 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).
  14. The series takes some time to put this team together, even in the same area of New York. And while you’re waiting for that plot turn, you’re treated to a series of lurid images, from yucky to jolting.
  15. Each of the firefighters here reveals a nuanced, complex mindfulness, a sense that what they do is dangerous, but also rewarding, exciting, important, and, in a word, what they do.
  16. The Practice should have been this much fun.
  17. Sure, this has all been done before, but familiarity doesn't make Just Legal any less fun.
    • 81 Metascore
    • 70 Critic Score
    Millman is closer to Gervais than Brent ever was, and Extras teases out compelling tension from his desperate efforts to enter the world of the glitterati.
  18. 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.
  19. The series is essentially light-hearted: Sam is a sweet-natured superhero with a dust-buster. He may be working for the source of all evil, but one can’t help but cheer him on.
  20. The soap operatic set-up is both efficient and florid, laying out both familial continuity and class distinctions.
  21. Details of color and composition do the work usually handled by too much expository dialogue, granting access to Dani and Charlie’s thinking.
    • 77 Metascore
    • 70 Critic Score
    While I expected the obvious jihadist jokes and Muslim stereotypes, the good news is that Aliens in America doesn’t just fall into such jingoistic scapegoating. Instead, it shows and complicates the process.
  22. This effort to bring Sarah’s Chronicles both back and forward to our current moment is both awkward and smart.
  23. The formula set in motion by the Fringe pilot is familiar. That’s not to say it’s not also devious and often delightful.
  24. The actor’s embodiment of seemingly counterintuitive emotions is riveting, as House’s placidity demonstrates sorrow, while anger represents a kind of giddy id. Even if House isn’t offering new stories or themes, it remains a terrific showcase for a terrific performer.
    • 58 Metascore
    • 70 Critic Score
    In their certitude, the villains are more compelling than their wishy-washy heroic counterparts. The real excitement of “Villains” is its promise to expand the series’ assortment of baddies: their unabashed queerness and freakery make for more fun.

Top Trailers