PopMatters' Scores

For 487 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 7.5 points lower than other critics. (0-100 point scale)
Average TV Show review score: 58
Highest review score: 100 The Flag
Lowest review score: 0 Get This Party Started: Season 1
Score distribution:
  1. Mixed: 0 out of 180
  2. Negative: 0 out of 180
180 tv reviews
  1. If visuals are not mundane in Southland, neither is the dialogue, especially the incidental repartee that oils coexistence in a high-stress profession.
  2. Yes, Rizzoli & Isles is quick with cliches....[But] for all the stereotyping, it's hard to be mad at Angie Harmon.
  3. Aquarius isn’t quite history, but it also isn’t precisely now, or even accurate.
  4. It does tend to love its sublimely self-confident hero, a quick draw and a smartass who nonetheless walks a sort of moral line that baffles his mostly rube-ish opponents. But the show offers other, pleasures that help to make up for what's predictable.
  5. If Elementary is a standard detective procedural, it is at least well done. This is largely based on the strength of Miller, who brings a rejuvenating energy to a genre full of morose investigators
  6. 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.
  7. The particulars of the transition involve the usual melodrama, as each regular cast member has a chance to express his or her feelings about Grissom’s departure, however pissy or mundane.
    • 68 Metascore
    • 60 Critic Score
    Those who enjoy Sons & Daughters enjoyed Arrested Development more, and the same viewers put off by the latter's off-the-wall humor will also be put off the new show.
  8. 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.”
  9. Despite the new episode’s title, “Ch-Ch-Changes,” not much here is different.
  10. Dark Matters has something for viewers who are easily titillated as well as those interested in history.
  11. The show's formula looks to be this: the silly plots swirl, the brokers scheme, and the minions toil, but in each episode, Liv finds a moment to chat with one of these wise, powerful, and inevitably troubled women. In these moments, Scandal is slightly less tabloidy and soapy, and slightly more beguiling.
  12. Zero Hour‘s first episode ends on one hell of a promising cliffhanger, including a shock that comes out of nowhere but still makes sense. If director Pierre Morel can ask for a few more takes (occasional scenes feel like actors are still rehearsing) and if the script turns as strange as that episode-ending shock suggests it might, Zero Hour may actually be more new than recycled.
  13. The problem is that the story in between the songs is still inconsistent and muddled.
    • 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.
  14. It’s not new or challenging or even very strange. It is, however, plenty quirky.
  15. The result is a show that's more ABC Family than Tina Fey.
  16. It's an ingenious first two minutes of a series premiere, actiony and exciting and legible enough.
  17. 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."
  18. Even if it makes for far less gripping viewing in its sophomore iteration, Luther remains notable in the police drama pantheon for this stark perspective.
  19. We never know how fully such a mix might develop, and in this episode, it seemed undercooked by the end.
  20. 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.
    • 76 Metascore
    • 60 Critic Score
    There are undeniably pulpy elements here, from the teasing out of material through multiple episodes to the melodramatic True Detective-esque credits sequence and crime reenactments. So far, it appears the film offers a spectrum of voices, some countering Durst’s.
  21. If the plot is thin, the show does offer other pleasures, including the actors’ improv skills, revealed in subtle and hilarious flashes of genius.
  22. At times witty and always good-looking, Undercovers needs to figure out how to balance its serious, silly, and gimmicky inclinations.
  23. This is pretty much how it goes on Chicagoland: Emmanuel against everyone else.
  24. Running Wilde demonstrates a distinct lack of its predecessor's lightning speed and intense saturation of jokes. This may be a structural issue: Running Wilde doesn't offer an intricate ensemble cast, but only the usual sit-commy supporting array, a wacky neighbor and a couple of crazy servants.
  25. 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.
  26. When Tara and Sookie speak truth to each other (or seem to), True Blood is almost shrewd.
  27. To viewers new to the franchise, L&O: UK might prove a fine introduction. For dedicated watchers of the original, it might function as a kind of recap of the "best of" episodes from the series' entire life. But for the truly addicted, it will always be a paler, politer, well-bred echo of the Real Thing, better left on the side of the Atlantic where it originated.

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