Slant Magazine's Scores

For 434 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 Spartacus: Vengeance: Season 1
Lowest review score: 0 Red Widow: Season 1
Score distribution:
  1. Mixed: 0 out of 279
  2. Negative: 0 out of 279
279 tv reviews
  1. [Lieutenant Abbie Mills (Nicole Beharie) and Ichabod Crane's (Tom Mison)] sharp banter, coupled with campy scenes of the horseman riding around town severing peoples' heads, makes for a mutually reinforcing combination of amusing and absurd TV.
  2. The strength of Brooklyn Nine-Nine is in the way it summons the communal spirit of those shows [Parks and Recreation, The Office, and 30 Rock] to not only poke fun at crime-show clichés, but also reinterpret them with a fresh and idiosyncratic comedic point of view.
    • 71 Metascore
    • 75 Critic Score
    American Horror Story has always been a series that loves its characters and still isn't afraid to put them through hell, and it seems like there are more layers down there than expected.
  3. Girls remains just as disaffected and misanthropic as ever.
  4. The Spoils of Babylon is a dada high-wire act presided over by quasi-satirical nutters, and the chaos they invoke is oddly life-affirming.
  5. At its wildest moments, the series feels as frighteningly nervy and furious in its delivery and intent as prime David Lynch. More times than not, however, it defers to an earnest, rote view of bad religion, only marginally enlivened by the appearance of Shea Whigham as a big-tent preacher.
  6. Even if House of Cards is a cartoonish depiction of American politics, it's also a juicy, pulpy, entertaining thriller, and can easily be enjoyed on that level.
  7. Regardless of some of its structural weaknesses, The Americans's second season brims with subtle psychological insight into the grinding machinations of Cold War espionage.
  8. That the episode feels somewhat uneventful only belies the intriguing, subtle shifts that have taken place since last season.
  9. The result is a leaner, scrappier 24 that is both firmly within its comfort zone--the unstoppable Jack, unflinchingly facing interrogators and taking down three guards while handcuffed--and somehow outside it, with Jack and the other returning characters more readily showing the wear and tear of their profession.
  10. Maron portrays a war against self-pity that's unusually resonant for its willingness to plumb the legitimately pitiful.
  11. With the exception of the premiere's ingeniously disorienting first half, which is best left a surprise, the episodes that follow blend this communal melodrama with the flashback structure developed in season one.
  12. The Strain is a refreshingly bold deviation from TV's obsession with literal-minded crime shows that self-consciously flaunt their social relevance while wallowing in soap-operatic macho tropes.
  13. Creator Hugo Blick, who wrote and directed every episode, displays a knack for precisely parceling out bafflingly vague innuendos with the occasional nugget of undiluted exposition that comes as a sweet relief, not just for the viewer, but for the characters who are often as clueless as we are.
  14. The season premiere alone places SAMCRO in three progressively darker, increasingly self-destructive set pieces sparked from confusion and ending with the gang indulging in some misguided retaliation.
  15. How to Get Away with Murder screams "Shondaland" through and through, a sudsy primetime potboiler rooted in a belief that the experience of adulthood can be just as sexy as the bloom of youth.
  16. The 50 Year Argument resembles a reader-centric Behind the Music only on the surface; underneath, Scorsese and Tedeschi have fashioned an American cultural hall of mirrors that speaks of the chaotic exhilaration of fostering discourse that might initiate real social engagement. If that's naïve, screw it: This pop culture could use more of Scorsese's naïveté.
  17. New characters open up intriguing new avenues to investigate Carrie's ability to operate effectively.
    • 69 Metascore
    • 75 Critic Score
    The balance of story potential is more evenly spread this time out [compared to Coven].
  18. Right off the bat, this new season strongly hints that the series will continue to ruminate on primal sensations of fear and survival, but that it will be more content to allow action, as opposed to a plethora of argumentative moral debates, to speak to such existential matters.
  19. This is farce with a heart, shot through with unlikely moments of grace and warmed by an aura of bemused acceptance.
  20. If the insights into modern existence on Portlandia never seem quite as profound as those on Louie, the series continues to brandish a view of gender that's almost casually radical.
  21. What started as a refreshingly female-centric yet awkward comedy has grown into a strange and oddly mature study of how Hannah and her ilk come to terms with the labor that goes into art after years of fantasizing about the façades and lifestyles of bohemian artists.
  22. After three seasons, a satisfyingly dense layering of history and tension has been built into the relationships between the main characters.
    • 78 Metascore
    • 75 Critic Score
    Even as the series begins to show its age, Archer's commitment to character ensures that these episodes never feel too familiar.
  23. A good drama but an average psychological study.
  24. The all-star cast, which includes Hector Elizondo as the patriarch of the Duque family and Jimmy Smits as the adopted son who inherits principal control of the old man's sugar cane business in a contentious handover, bring authenticity to what is otherwise a hysterical, Dynasty-style vision of Cuban-American experience set in and around kitschy Miami.
    • 53 Metascore
    • 63 Critic Score
    This is hour-long material forced into a 30-minute timeslot, though some of its plots are strung together--at times held up by--Piper's silent, meaningful looks at the camera.
    • 67 Metascore
    • 63 Critic Score
    Fringe attempts something similar [to "Lost"] (with an opening scene involving a plane, no less) but can't quite match the primal thrill of vehicular destruction.
    • 70 Metascore
    • 63 Critic Score
    It's "Ghost Whisperer" for adults, the equivalent of a movie you're happy you didn't pay to see at the theater, but content enough to have rented--amiable, distracting, and professionally crafted.

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