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 Office (UK): Season 1
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. Just when it could've coasted off its accumulated good will and anticipation, Boardwalk Empire raised the stakes instead.
  2. Ben and Kate has the potential to be a similar sort of low-key, hangout show [like Cougar Town and Raising Hope] that's also very funny.
  3. 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
  4. It's an ingenious first two minutes of a series premiere, actiony and exciting and legible enough.
  5. 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.
  6. The rest of the show goes on to prize sweetness over superficiality.
  7. The mix of appealing nerds and lack of truly grating nerds is calculated for viewers' comfort, but the first episode is decidedly bland, too. Viewers looking for a new take on the reality competition genre won't find it here.
  8. The problem is that the story in between the songs is still inconsistent and muddled.
  9. If Community has been an underappreciated gem for the past three years, its fourth season premiere is sadly lackluster. But if the Dean’s episode-ending prediction isn’t entirely convincing, it could be that Guarascio and Port just need more time.
  10. 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.
  11. It is often funny, but it could be funnier if it were wed to more coherent storytelling.
  12. 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.”
  13. If the plot is thin, the show does offer other pleasures, including the actors’ improv skills, revealed in subtle and hilarious flashes of genius.
  14. Instead of wink-winking at the audience about its own cleverness, The Goodwin Games mostly keeps things moving along at a snappy pace, with jokes as well. When the show gets too pleased with its own eccentricity, though, it becomes grating.
  15. It offers largely pedestrian observations of the difficulties of celebrity.
  16. When Falling Skies is clicking, it remains a very entertaining show that fills a niche.
  17. Although it’s worth reserving judgment on the disposition and spirit of Under the Dome until we’ve seen at least a handful of episodes, it’s fair to say that the pilot embraces the material’s pulpier elements, with none of Lost’s nerdy digression or philosophical trolling.
  18. C.S.I.: Miami is very slick, very clever, and very eager to please.
  19. Somehow, this ludicrous premise and uneven plot elements cohere into a fast-moving, exciting hour.
  20. It’s to this busy show’s credit that the pilot doesn’t feel disjointed. All of these disparate parts are working more or less harmoniously.
  21. The team assembled in the first episode is less a team and more a loose collection of brooding loners.... [Phil Coulson (Clark Gregg) is] an oasis amid all this peevishness.
  22. If the daily competitions for commissions don’t quite match the savagery of the male-on-male contests in Glengarry Glenross or In The Company of Men, they remain vicious enough to give the otherwise fluffy plotting a little bite.
  23. Walton’s Will is more jovial and goofy, a ladies’ man with at least one good and honest friend his own age in Andy. He’s also the primary reason to give NBC’s About a Boy any sort of chance to develop its formula.
  24. This is pretty much how it goes on Chicagoland: Emmanuel against everyone else.
  25. You’re left to wonder about what she sees, or whether she believes what she sees, a set of questions that might be intriguing (watching her distraught face as she watches herself) or annoying (watching her vaguely worried face as she spots a stranger at the end of her driveway in the dead of night).
  26. While the picture it provides is certainly strange and paradoxical, it is also limited.
  27. It’s a credit to Caspe and Marry Me’s other creators that the series premiere introduces all of these characters and their relationships seamlessly, without clunky, expositional dialogue about how they all met.
  28. 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).
  29. If the first offering, "Incident On and Off a Mountain Road," is any indication, the hoped-for resurrection of in-your-face frights is still a couple of corpses away.
  30. 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.

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