Slant Magazine's Scores

For 551 reviews, this publication has graded:
  • 35% higher than the average critic
  • 5% same as the average critic
  • 60% lower than the average critic
On average, this publication grades 2.3 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Deadwood: Season 3
Lowest review score: 0 Red Widow: Season 1
Score distribution:
  1. Mixed: 0 out of 355
  2. Negative: 0 out of 355
355 tv reviews
  1. A lurid, textured soap opera with an understanding of finance as a rarefied ecosystem that rules unto itself at the cost of most everyone else. The literate macho zingers often suggest a modern-day Sweet Smell of Success, compellingly merging with the casually worn cynicism.
  2. Despite some tweaking in the main storyline, Chuck's tone remains generally affable.
  3. The Bridge doesn't have the forceful originality of other socially conscious dramas such as Justified and Hannibal, but it's off to a promisingly lurid start.
    • 83 Metascore
    • 75 Critic Score
    Fortunately, the series is able to carry on making the ebb and flow of life at Litchfield matter even in spite of the writers' efforts to keep Piper at the center.
  4. It's in the relationships that these men come home to that defines Inside Men as markedly more engaging and effective than a great deal of its ilk.
  5. More times than not, this loving obsession with the details of lower-middle-income life makes up for the show's competent but overly plain production design and cinematography. Even more so, the show's symbology is often breathtakingly simple yet resonant.
  6. Luther feels just a bit more ordinary than usual this season, though it serves as another reminder of how magnificently, expressively physical Elba is as a performer.
  7. This Casual Vacancy is a little too earnest, which renders the depictions of the class warfare trite and preachy.... [Abigail] Lawrie disrupts the coziness that occasionally threatens to calcify The Casual Vacancy into another lush, prestigious book-on-film, imbuing it with an authentic cry of the damned.
  8. Vice Principals is the story of an unlikely partnership, and Goggins and McBride prove deliriously entertaining in evoking Neal and Lee's rocky relationship and oft-guarded passions.
  9. The cast's highly attuned instincts for knowing when to press complicated dialogue into kinetic banter and when to dial back to find the subtlety in a one-liner joke is what keeps Veep's humor vital.
  10. It's less intensely fixated on the city from which the series derives its name, and Armisen and Brownstein's willingness to expand the scope of its satire has ultimately led to something more sustainable, if a little less local.
  11. Flush with vivid characters, immaculate set design, and increasingly fluid storytelling, Boardwalk Empire keeps getting better, but still feels a few distinct steps short of greatness.
    • 80 Metascore
    • 75 Critic Score
    Runway remains the most delicious of junk foods, and with the added pleasure of occasionally baring witness to unique, well-crafted garments, this must-see program might even be considered educational.
  12. It's Always Sunny in Philadelphia already has its target audience locked in, and if you aren't a fan of the show as it is, season seven will do little to change that.
  13. 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.
  14. Santa Clarita Diet is a charmingly goofy lark, revealing itself to be a comedy of remarriage hidden in zombie's clothing.
  15. Though its narrative structure and atmosphere take a markedly different tack, Maron presents itself as a fair complement to Louie in that both shows concern themselves with refreshingly substantive masculine types.
  16. While fans of Battlestar should be happy to hear inventive use of the word "frak" again, they might be put off by Caprica feeling like Moore's own version of Dallas.
  17. While the show's certainly grown more tightly plotted in the last several seasons, especially after cutting the number of episodes down to 10 and reducing (often via murder) the number of secondary characters, Damages is still suffering from some seemingly needless bloat.
  18. We are led to believe there is something faintly honorable about these characters, and that their extreme intelligence justifies their slaughter of those who are "beneath" them. There's something distasteful about this archetype, but Wilson, a canny actress, rises above the material. Together they make Luther the most absurd and enjoyable police show to come along in a while.
  19. 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.
  20. Community has always been a series that wears its badge of snappy creativity proud, and it's fourth season doesn't shy away from that.
  21. Hung grows more penetrating with every episode. There are still throwaway scenes (like between Ray and the rich neighbor whose having an affair with him), but they contribute to the way in which Ray is coming to terms with his lifestyle.
    • 69 Metascore
    • 75 Critic Score
    The balance of story potential is more evenly spread this time out [compared to Coven].
    • tbd Metascore
    • 75 Critic Score
    The characters are caricatures of their dope-smoking, wine-swilling, Gore Vidal-quoting selves, falling into ever-more absurd scenarios and playing a kind of intellectual high-wire act that allows us to laugh along with the antics, but also, importantly, observe them from a safe remove.
  22. The Killing is both new and old, on-trend and deeply unfashionable. But, throughout the first couple of episodes, we watch as the show masterfully transforms its anxiety of influence into a propulsive anxiety.
  23. 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.
  24. The most interesting thing here is the show's willingness to take risks: killing off major characters, running about 18 different plot lines at once, incorporating racy psycho-sexual and religious undertones, asking more questions than it intends to answer.
  25. This season, the writers have taken her even further away from the cliche of the incompetent boss--currently being flogged to death by The Office. Leslie is now both realer and more amusing, the humor of her character stemming from the fact that she's good in a profession that no one, including her boss and her subordinates, seems to care too much about.
  26. Season three provides a frequently amusing but cursorily developed spectrum of characters for Fiona to rebound off of, as she sorts through the detritus created by various implosions at the end of the second season.

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