PopMatters' Scores

For 476 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 7.1 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 172
  2. Negative: 0 out of 172
172 tv reviews
  1. Stick with it through the second episode: it gets moving quickly in the subsequent episodes, and turns into a grim frontier revenge saga, with intriguing personalities and interconnecting storylines.
  2. The animation remains a little crude, but the show is at least trying to be a bit more dynamic in its action sequences this year. And the roughness contributes to the comedy.
  3. For these all-too-brief moments of sheer visceral exhilaration, all of the related backroom machinations, self-destructive manipulation, and blithe dishonesty of the characters seem completely justified.
  4. If Smash lacks the benefit of Aaron Sorkin's hyper-literate and unmistakable dialogue, it follows Studio 60's format, observing the producers, writers, and actors who collaborate on a show, particularly what happens backstage.
  5. The River plainly evokes Lost.
  6. Frozen Planet recycles some material from previous films from under the same umbrella (I'm pretty sure those duck-hunting wolves were in Life) as well as covering territory very well-trodden by other films.
  7. It's more subtly, and more forcefully too, a quest for understanding, specifically an understanding of how the world works.
  8. The new episodes present an almost a too intricate meditation on power. Game of Thrones demands that you pay attention or be left behind.
  9. A lean moral thriller, Inside Men considers the core impulses of such justification, and draws out severe implications with considerable skill.
  10. It's more interesting when Elaine takes aim at the easy-target man's world she inhabits.
  11. 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.
  12. The lack of cynicism is at least a bit unusual in the current sitcom universe, conferring novelty and a genuine, rather than confected, sweetness.
  13. While Grace must seek to do right, The Mob Doctor is most compelling when she has to sort out what that is, and also when she has to justify what she does wrong.
  14. This being The Good Wife, a show renowned for complicating what might seem obvious, Alicia's new position as a kind of moral compass leads to a new series of dilemmas. Some of these are predictably topical.
  15. No such show has come even near to Glee's success. Nashville may be the exception, with its clever, even cynical, mix of middle-aged crises and youthful ambitions set in country music's Mecca.
  16. 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.
  17. It's a lively conversation that's nicely balanced between oral history and behind the scenes anecdotes.
  18. For now, the Bowers and Joanna provide enough mystery to maintain our interest, but we're left wondering whether the show's compelling start is actually taking us somewhere, or if instead this, too, is only a deception.
  19. At last, Sasha is less a collection of TV teenager tropes and more convincingly a Sherman-Palladino creation.
  20. Even though Archer does occasionally overwhelm its sharp wit with violent fight sequences or simplistic shocks, it usually recovers with a one-two punch of cool animation and skillful wordplay.
  21. Referencing literary works and imitating horror films may seem derivative, but by drawing from the familiar, The Following obviates the need for extensive exposition and jumps right into the action.
  22. Although the nature documentary elements are the focus, the added color of travel show features as well, as the general feeling of spontaneity (however carefully cultivated) adds a peculiar appeal to the package.
  23. Despite character-based faults and multiple narrative cul-de-sacs, [Parade’s End] does come around to revealing the consequences of maintaining public status and reputation at the cost of personal realization.
  24. While the mystery genre has a rich history of incisive social commentary animating a compelling investigation, this series struggles to balance an examination of women’s place in post-war Britain and a classic race-against-time mystery.
  25. 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.
  26. Bruckner takes on the role with gusto, and she and Harron together create someone whose unthinking commitment to the pursuit of “F-U-N” (in Anna’s phrasing) achieves something close to sublimity.
  27. These couple of episodes give hope that Kaling the writer means to continue to skewer her character’s fantasies with the same combination of intelligence and acid wit as before.
  28. An intriguing twist suggests her involvement in his scheme is more complicated than the setup suggests, but we knew that. Moreover, she may also be more complicated than Red anticipates, which might make the introduction of this so familiar dynamic more a point of departure than a retread. That will be helpful because, based on the first episode, The Blacklist‘s plot makes little sense.
  29. The film offers a version of the real Mitt, performative and authentic, charming and awkward, occasionally at the same time.
  30. There are a few elements of Silicon Valley that are still works in progress at this point. The force of Miller’s personality can be overwhelming, and a little of Erlich goes a long way.

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