Slant Magazine's Scores

For 580 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 2.5 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Better Call Saul: Season 3
Lowest review score: 0 Zero Hour: Season 1
Score distribution:
  1. Mixed: 0 out of 374
  2. Negative: 0 out of 374
374 tv reviews
  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. Maron portrays a war against self-pity that's unusually resonant for its willingness to plumb the legitimately pitiful.
  9. The cast is perfectly matched to this material.
  10. In its second season, Mark and Jay Duplass's Togetherness blooms into a stirring study of modern parenting as an experiment in creation and imagination.
  11. While it's impossible not to love the competent and principled new Leslie, the character is at her funniest when she breaks from the show's easygoing pace and frenetically attempts to discharge her own anxieties by talking at the camera and protesting too much that her idealism is intact.
    • 61 Metascore
    • 75 Critic Score
    If the show treads a little more softly, there could be greatness; radical conformity is always lampoon-worthy, no matter the setting.
  12. Lights Out isn't a knockout, but it's got enough grit and sweat to keep viewers on their toes.
    • tbd Metascore
    • 75 Critic Score
    Every once in a while, these characters seem to care about each other enough to justify enduring their unchanging world, keeping the show's skillful comedy of repetition from veering too often into misanthropy.
  13. Weeds does manage to maintain the dry humor that made it a hit to begin with, and this isn't the brand of listless cynicism we get from lesser comedy writers content to appear savvy and hip.
  14. True, Gotham has more than its share of monologuing villains and expository or portentous lines (Lee to Gordon: “You wanna be a cop so bad you'll break the law?”), but it undercuts those conventions often enough to make them feel like a conscious homage, not just clunky writing.
    • 63 Metascore
    • 75 Critic Score
    It works—maybe because the group is so likeable, or because writer Adrian Hodges puts so much faith in his main characters (it's nice, for once, to see a work that doesn't fault us for our reliance on technology, but rather shows how easily people can persist without it).
  15. Luke Cage succeeds where so many Marvel ventures have failed in finding a unique, if not perfect, pitch between seeing the hero at its center as an icon for social good and understanding him as a human being, and it's important that the writers don't ignore or sublimate the fact that he's also African American.
  16. Where the second season ultimately improves on the first is mainly in its sense of scope, of extending the already vibrant existing world of the series.
    • 69 Metascore
    • 75 Critic Score
    His chronic pessimism may grow harder to tolerate over the course of a 13-episode season, but for now, Louie provides brooding wit and genuine pathos in substantial enough doses to eclipse any shortcomings.
  17. Funny, endearing, and studded with little truths about family life and race relations, the series tackles topics network TV rarely dares to touch--but says little we don't already know.
    • 78 Metascore
    • 63 Critic Score
    It's admirable that the supporting characters are being given weightier plotlines, but the show isn't always successful at exploring subjects like corporatization or race in the most nuanced way.
  18. It remains to be seen whether this season's Nancy will be more Daphne or Thelma, more damsel in distress or more protective mama bear, but by the end of the first episode, it's clear she's back to her old tricks.
  19. The series loses some of its drive by its dreary fourth episode, when a labored love triangle between Carroll's disciples mars the overall flow of the central arc. ... Until that point, though, The Following is mostly engaging, even if it never truly substantiates its antagonist's godlike stature in the eyes of his worshipers.
  20. It remains to be seen whether Eric Carter will deepen as the series goes along; for now, though, Hawkins, like 24: Legacy itself, brings just enough intensity to get the heart-pounding job done.
  21. Despite even their most reckless actions, the remaining Rayburn family struggles and strives to keep up appearances alongside [Kyle Chandler's John], and Bloodline similarly feels the need to stress the maturity of its characters and the seriousness of their situation. In doing this, the creators fail to fully survey the storm of feral impulses hiding beneath the postcard image of both the Florida Keys and one of its supposedly most celebrated families.
  22. As stunning, seamless, and well-curated as this particular mixtape is, the viewer is haunted by the constant anxiety that, in the end, there's nothing holding it all together other than good taste.
  23. If Kaling focused more on playing her characters off each other and less on her heroine's mishaps, The Mindy Project would make for a smoother, more consistently engaging series.

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