Slant Magazine's Scores

For 437 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 2.6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 62
Highest review score: 100 Louie: Season 4
Lowest review score: 0 Zero Hour: Season 1
Score distribution:
  1. Mixed: 0 out of 282
  2. Negative: 0 out of 282
282 tv reviews
  1. Despite the formidable technical mastery applied and the demanding sprawl of the multifaceted narrative, Campion's series has the unmistakable timbre of daring art made naturally.
  2. The L.A. Complex manages to be far more relatable and honest than other self-referential shows about "the biz."
  3. This is one of the rarest finds on television: a show where cast and character are so perfectly matched by a creator who understands exactly what journey he wants take his audience on.
  4. The writers have shown that letting the characters drive the story can make a form as tired as the sitcom new again.
    • 80 Metascore
    • 100 Critic Score
    Finishing each episode is like closing up a really great, gritty, little crime novel.
    • 85 Metascore
    • 100 Critic Score
    Milch has a keen eye for his actors' untapped resources--he doesn't so much cast against physical types as he does psychological ones--and this is what makes Deadwood's expansive ensemble so continually exciting to watch.
  5. Treme puts everything into every scene. The camerawork is rich and the direction squeezes every nuance from the actors. The city's history has been painstakingly researched and effortlessly inserted into the writing. As a result, the moments-or notes-that make up this show are all that much richer, that much livelier.
  6. It's an honest tearjerker that treats its characters with respect, according them a great sense of wounded, tattered dignity.
  7. That Enlightened's propagandist and activist message is tinged with irony only makes it more perfectly tooled to our times.
  8. The seeds planted in the earliest episodes of the season promise a narrative as rich and complex as season one.
  9. Breaking Bad continues at the same disciplined, regimented pace, fussing over small details and picking at new threads, even with the end looming.
    • 70 Metascore
    • 100 Critic Score
    Hunted balances its cheesy dialogue and gratuitous sex and violence with an overarching narrative that dramatizes endemic moral rot and the dark money pulling strings from behind the curtain.
  10. Well written and acted, almost perfectly paced, and entirely unlike anything else on television, Spartacus isn't just bloody good, it's bloody excellent.
  11. The Wire is as true as television gets.
  12. Ideas became embedded into character and each member of the ensemble was given complex motivations within situations that challenged their natures. As the third season begins, we see that Weiner is committed strongly to going in this same direction with closeted homosexual Salvatore Romano.
    • 98 Metascore
    • 100 Critic Score
    David Simon and his writers... aren't out to change the world; the slippery slope of civilization is already in place on The Wire and Simon is just out to document how each and every person survives. Or doesn't, as this season quite devastatingly proves.
  13. Season six is comparatively slow, and obsessive, which is a relief from the convolutions that had grown to characterize Justified. We're allowed to savor those great dialogue exchanges between lovers and antagonists that ultimately define the series.
  14. Steven Soderbergh's The Knick is exhilaratingly alien.
    • 83 Metascore
    • 100 Critic Score
    Not since HBO's "The Wire" has a show juggled so many conflicting and diverse issues like race, money, and class with such staggering insight.
  15. For its authentic engagement with despair, Hannibal earns its wrenching nihilism: It's a great, epic vision of American horror.
  16. Justified is the strongest, liveliest, and most tonally accurate adaptation of the writer's work to date, and the latest season bracingly suggests that isn't likely to change anytime soon.
  17. Even if the radiant humor occasionally tends a bit toward the local, as in the brilliant season opening involving members of the DSNY, the point of view is so effortlessly relatable in its humble assertions.
  18. HBO's The Normal Heart is a boldly corporeal expression of gay political consciousness.
  19. As always, there's no predicting where all of this is headed, but if one last reference to The Divine Comedy is any sign, this season's journey toward the final act of Mad Men's American epic promises to be its most challenging and rewarding.
  20. For every Mrs. Patmore, the cook who wants nothing more than to stay in service the remainder of her life, there is a housemaid such as Gwen (Rose Leslie), who dreams of becoming a secretary in a modern office. It's these dichotomies, and the way they exist within both the Abbey itself (half the rooms have electricity and half don't) and its multifaceted inhabitants that make Downton Abbey not only the best soap opera currently on television, but one of the most relevant as well.
  21. Empire coasts with the chutzpah of a series that knows exactly what it wants to say and how to say it, leaving viewers no quarter except to pick their jaws up off the floor between commercial breaks.
  22. Behind the Candelabra is powerful, funny, and emotionally rigorous, and though it might act as a fiery and forceful resignation, in conjunction with Side Effects, it also serves as an uncommonly heartfelt Dear John letter.
  23. Showing us the long-term impact of the attack on the lives of these characters, whose deep-seated motivations and fears have gradually been revealed to us over the last two seasons, allows Homeland to transcend its tendencies toward the hyperbolic and gives us a reason to suspend our disbelief.
  24. Rather than waiting for a future payoff, Fringe is cashing in with every episode, showing us the escalating war between worlds-and with likeable characters and compelling cases to boot. Ironically, it's by branching out in two different directions that the show has become, more than ever, the centerpiece of a hypercompetitive Thursday night lineup.
  25. The Mags's-money plotline masterfully brings together Boyd's crew, featuring Raylan's farther, Arlo (Raymond J. Barry), Limehouse's camp, an incarcerated Dickie Bennett (Jeremy Davies), the dimwitted Dewey Crowe (Damon Herriman), and Raylan, along with fellow marshal Rachel Brooks (Erica Tazel) in a string of energetic scenes boasting some tremendous acting and increasingly clever dialogue that truly carries the lively spirit of author Elmore Leonard's original work.

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