PopMatters' Scores

For 492 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 8.3 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 184
  2. Negative: 0 out of 184
184 tv reviews
  1. The jokes fly furiously during the first episode, and the delivery is impeccable all around.
  2. Ironside is an exercise in cynicism, a safety-first raid on the vaults with not a shred of respect for either the its prospective audience.
    • 86 Metascore
    • 50 Critic Score
    Regardless of historical veracity, though, some of the drama here is shopworn.
  3. The navel-gazing tenor doesn’t always obscure Parenthood‘s thought-provoking moments, which often also showcase clipped, witty scripting, and lucid acting.
  4. 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.
  5. It is to say that this mimicking is just that, as if the creators here have watched those shows ["24" and "Homeland"], but have no original inspiration, and instead think that plot twists in and of themselves make a drama bracing.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. Somehow, this ludicrous premise and uneven plot elements cohere into a fast-moving, exciting hour.
  11. The show doesn’t only deliver fast-paced action and fine performances, but also, increasingly, poses questions concerning responsibility.
  12. While The Flag ponders the whereabouts of Shirley and Spiro’s flag, it raises other, broader, variously resonant questions too, questions concerning how symbols and icons become significant, as well as how stories are told and myths are disseminated.
  13. When so much of the series depends on psychological nuance, the lurch into Hollywood action thriller confrontations is an outright admission of defeat. Sensationalism trumps subtlety once more. Both Luther and Idris Elba deserve so much more.
    • 98 Metascore
    • 100 Critic Score
    In 10 years of reviewing film and television for various publications, no comedy has given me as much pleasure as The Office.
  14. 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.
  15. The brilliance is precisely a function of its incongruity.
  16. C.S.I.: Miami is very slick, very clever, and very eager to please.
  17. While the characters remain thinly rendered types and the situations predictable, Orange is the New Black veers from melodrama to slapstick.
  18. 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.
    • 68 Metascore
    • 50 Critic Score
    So aggressive is RENO 911!'s low-budget affect (not to mention its inconsistent pace and sometimes flat humor) that Cops looks positively polished by comparison. ... Still, and especially in its improvisational moments, RENO 911! offers occasionally engaging spontaneity.
  19. Why is Charlie here? He doesn’t get involved in the action, only generates equations that are truly unexciting.
  20. 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.
  21. Despite the new episode’s title, “Ch-Ch-Changes,” not much here is different.
  22. Copper reveals not only the grim living conditions of 19th century New York, but also the implications of unchecked police power.
  23. 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.
  24. 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.
  25. This shying away from meaty storylines typifies the longstanding weakness of Major Crimes and, to a certain extent, The Closer before it.... As the team has little to do on the job, the episode fills out the time with minor whiffs of narrative.
  26. When Falling Skies is clicking, it remains a very entertaining show that fills a niche.
  27. 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.

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