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CRITIC SCORE DISTRIBUTION | ||
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Positive:
34
Mixed:
4
Negative:
0
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Critic Reviews
Feb 27, 2018
Season 4 Review:
With the new status quo comes those bold new possibilities. Along the way, much allegory is to be witnessed, and I’m not just talking about the obvious. Really, it’s recommended that you pay attention and perhaps even watch each episode twice in order to soak up every detail. As usual, the writers deserve a medal, with each installment chock full of numerous intricacies.
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Feb 26, 2018
Season 4 Review:
iZombie seems to be luxuriating in the opportunity to really expand and do some formidable world-building. But this is a show that ultimately wants its audience happy; Liv Moore is out there solving crimes and eating brains, and the television landscape is better off for it.
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Oct 7, 2015
Season 2 Review:
No one talks like this in real life, but the best writers can make the unbelievable entertaining with enough flourishes and head-spinning zingers, and in that sense Thomas is sort of like Aaron Sorkin for tweens. The only way for that writing to work is with a cast that can pull it off, and iZombie is showing that it has that in spades in season 2.
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Mar 17, 2015
Season 1 Review:
The crime solving sometimes seems perfunctory, and some of the characters feel purely functionary. But the series is still having a ton of fun throwing many ideas at the wall to see what sticks. That so much is sticking already is cause for anticipation of even better things to come.
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TV Guide MagazineMar 5, 2015
Season 1 Review:
As deadpan as it is high-concept, iZombie is genre-bending and beguiling hoot. [9-16 Mar 2015, p.13]
Mar 16, 2015
Season 1 Review:
In many ways, iZombie echoes its noir predecessor, “Veronica Mars,” right down to the tiny (hoodied) protagonist who frequently provides wry narration. But the show loses some steam when Liv begins taking on the characteristics, and memories, of various victims of foul play on whom she’s dined.
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UPROXXFeb 26, 2018
Season 4 Review:
The start of the new season hits a lot of bumps as it tries to simultaneously show how everything has changed and nothing has, as if the show is having second thoughts about the new Seattle--or at least wants to very carefully ease the audience into it. The dialogue’s still sharp, and the performers appealing, but the tug of war between what the show was and what it probably needs to be now is palpable, and at times distracting.
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