Slant Magazine's Scores

For 379 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 3.1 points lower than other critics. (0-100 point scale)
Average TV Show review score: 62
Highest review score: 100 The Wire: Season 4
Lowest review score: 0 Zero Hour: Season 1
Score distribution:
  1. Mixed: 0 out of 243
  2. Negative: 0 out of 243
243 tv reviews
  1. It's a bumpy ride, but at its best, Hello Ladies understands the demoralizing fear that turns so many men into insufferable jerk-offs.
  2. Where Mad Men branches out its individual narratives in a variety of ways, letting its characters deal with problems not related to the workplace, Masters of Sex seems rigidly anchored to its basic premise.
  3. [Toback is] an uneven director, yes, but a frequently brilliant interviewer.
  4. While there's plenty of potential fodder for a pulpy potboiler spread throughout the rest of the nine episodes, it's these more mundane, increasingly transient plotlines that come to define the latest installment of the series.
  5. Looking carries with it the potential to pick up the baton from something like Travis Mathews's explicit I Want Your Love, another gay short that was later expanded (in this case, into a feature film), but time will tell if it can't look beyond those hypnotic treasure trails.
  6. Kinnear's particularly comfortable, perhaps too comfortable.... Roy could've been a cartoon thug, but instead he's allowed to gratifyingly embody the demons that truly threaten to carry an addict away into a realm of chaos. He gives this fun but smug series a little bite.
    • 75 Metascore
    • 63 Critic Score
    As opposed to a more mainstream comedy like The Mindy Project or Two Broke Girls, Broad City sits at the margins of comedy and doesn't muddle its humor by sticking its conclusions about the human condition right under the audience's nose.
    • 67 Metascore
    • 63 Critic Score
    With an everything-but-the-kitchen-sink approach to storytelling that drags the focus away from the one relationship worth watching. Indeed, much of the credit for the show's kooky appeal falls solely to Farmiga.
  7. Judge clearly likes his characters, and his charismatic actors often justify that affection, but it's disappointing to see so much of an episode's running time spent, for example, on the homophobic implications of a piece of street graffiti, when we could be in the inner chambers of Hooli, or even in the incubator watching as the nerds bicker their way through code to realize the compressor's greatest potential.
  8. Fargo commands one's attention in the tradition of a pretty good yet ultimately impersonal beach read, but it offers an unqualified triumph in its reworking of Marge Gunderson, the character Frances McDormand played in the film.
    • 60 Metascore
    • 50 Critic Score
    If the producers of Smith could have chosen to focus on character development instead of a revolving door of action scenes, they might have had a top-notch show on their hands. As it stands, however, it looks as though Smith will be another victim of a good idea given a poor execution.
    • 40 Metascore
    • 50 Critic Score
    Dirt's not just dirty, it's messy.
    • 68 Metascore
    • 50 Critic Score
    If only the creators sought fit to put as much detail into their character development as their history, the show might have earned itself a third season.
    • 74 Metascore
    • 50 Critic Score
    Despite lacking the trashy allure of "House" or "24," its sporadic inventiveness within the realm of the Terminator universe makes it agonizingly interesting--moderately brilliant in spurts before reverting to the same old clichés.
    • 64 Metascore
    • 50 Critic Score
    There's certainly enough story here to develop into a strong series were it centered around interesting characters, but Ball has populated it with one stereotype after another.
    • 52 Metascore
    • 50 Critic Score
    What The Beast most clearly has going for it is its main ingredient: Swayze....[Because] it's as though the writers don't trust their audience to understand what's going on or they don't trust their own ability to convey it. In either case, it's sloppy.
    • 64 Metascore
    • 50 Critic Score
    The series is set in a world that praises the lie, and if the creators can mine that vein for inspiration and avoid falling for the conventional TV drama traps, they could have a better show to sell to their advertisers.
    • 61 Metascore
    • 50 Critic Score
    When a TV show is going to run the length of Fassbinder's Berlin Alexanderplatz, these people have to be more than expendable, and this "All-Non-Star Cast" doesn't have the instant audience identification required to fill in the blanks.
    • 66 Metascore
    • 50 Critic Score
    Lacking the poetic and poignant touch that might help make the ridiculous sublime or the sublime ridiculous, HBO, under cover of a dangerous and racy premise, has created a middlebrow comedy that, like its main character, looks good but has little to say.
    • 63 Metascore
    • 50 Critic Score
    It's now little more than a puppet act bouncing through history to get to its end.
    • 48 Metascore
    • 50 Critic Score
    With an abundance of pre-taped video segments and satellite interviews, Jay Leno wraps a very old-fashioned sensibility within a modern package. It's an interesting presentation.
    • 65 Metascore
    • 50 Critic Score
    In its current attempt to capture the meandering lifestyle and mindset of thirtysomething losers, Bored squanders its noir framework and aesthetic prospects, consequently inducing yawns.
    • 71 Metascore
    • 50 Critic Score
    The Middle is just a show about a quirky family, and their quirks simply aren't that interesting.
    • 61 Metascore
    • 50 Critic Score
    With such a talented writer on board, Parenthood deserves a few more episodes to iron out some of its more trite, movie-of-the-week storylines, allowing its multifaceted characters, and all their routine tribulations, to organically manifest as life consequently unravels.
  9. The show's dry humor, mixed with a rather troubling visual style where everything is stiff and vaguely deformed, mostly just makes you feel uneasy.
    • 52 Metascore
    • 50 Critic Score
    Despite occasional moments of solid acting on the part of Peregrym and Okuma, Rookie Blue sinks under the weight of its cheesy montages, references to the rookies as "fresh paint," and the lack of chemistry between the main characters.
    • 61 Metascore
    • 50 Critic Score
    With all of the main characters and supporting players involved in more and more peripheral pursuits, there is little time for the four friends to get together to shoot the breeze, meet some babes, or just have some fun.
  10. The result is both good and bad: On the one hand, Weeds feels fresh again. On the other, the writers still don't know what sort of show they're making, and the supporting cast keeps getting shoehorned into new roles.
  11. Hopefully the hyperactive series will mellow into a slightly less frenetic version of itself--out of budget necessity, if nothing else.
    • 63 Metascore
    • 50 Critic Score
    The characters are gently sarcastic with one another, clearly in love, and exhibit great respect for their unique skills. What's missing is a stronger supporting cast and the right narrative vehicle for their adventures.