Slant Magazine's Scores

For 543 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 2.2 points lower than other critics. (0-100 point scale)
Average TV Show review score: 62
Highest review score: 100 Top Of The Lake
Lowest review score: 0 Red Widow: Season 1
Score distribution:
  1. Mixed: 0 out of 348
  2. Negative: 0 out of 348
348 tv reviews
  1. 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.
    • 79 Metascore
    • 63 Critic Score
    The series is ambitious, unafraid to take on hot topics, but it doesn't let discussions of those issues unravel organically. Some themes are evoked suddenly and then quickly abandoned.
  2. Archer is a wonder in that its most fiercely flawed characters are its inextinguishable heroes, and their stylized comeuppance arrives in ways that are perpetually unpredictable and altogether resonant within the show's singular, emotionally unhinged universe.
  3. While it's not apparent that the show's personalities add up to anything more than themselves at first, they ultimately prove to be compelling studies of people trying to work through glaring mistakes and obvious limitations to fashion some sort of livable present.
    • 79 Metascore
    • 63 Critic Score
    In the Gregson family she celebrates an individualist, nonconformist spirit in a decidedly orthodox way, ending up with a diverting rather than affecting product.
  4. True Blood lives up to another one of its character's promises: "I can protect you. Or have passionate primal sex with you. How about both?" Both it is.
  5. Mr. Dynamite may finally be Gibney's most psychologically and socially perceptive film to date, at once a refreshingly even-handed view of one of the great musical minds of the 20th century and a near-pathological study of the rise of modern conservative thinking, seen through one of it's most unlikely yet dynamic supporters.
  6. Lights Out isn't a knockout, but it's got enough grit and sweat to keep viewers on their toes.
  7. [A] starry-eyed, badly acted, occasionally stirring series.
  8. 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.
  9. 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.
  10. By casting Rick's protagonist status into question, showrunner Scott Gimple has opened The Walking Dead to new possibilities--both in its narrative and philosophical foundations--and is successfully crafting a rare series of rising caliber and still-widening potential deep into its run.
  11. The imagery is gorgeous yet curt and parred, with jagged editing complementing the declaratory dialogue and Shane Carruth's spare score.
  12. The Game struggles to stake out new territory for the genre, but it nonetheless emerges as an absorbing portrait of internecine squabbles during an ostensible Cold War thaw.
  13. It might seem like grilling an A+ student for B- work, but the fact remains that this is among the few times the show has spun its tires.
  14. What's most remarkable about Bob's Burgers is how improbably poignant it can be while shamelessly indulging in the peculiar environs and dreamscapes that emerge from small-town livin'.
  15. Better Call Saul is a nifty and promising comic noir, but it also allows you to ponder certain missed opportunities.
  16. Being Human doesn't quite achieve that show's [Buffy] giddy levels of entertainment, but it's smart enough to know that vampires, werewolves, and ghosts are more interesting when they exist in our familiar, everyday world.
    • 78 Metascore
    • 75 Critic Score
    Should we actually trust his actions over what he says as a true indicator of who he really is? It does not seem that the writers of the show have discovered this apparent problem in their storytelling, but it certainly could be something worth exploring in the coming season.
  17. Even as the series begins to show its age, Archer's commitment to character ensures that these episodes never feel too familiar.
  18. There are still some forced situations (Joe gets hit on by a drunk businesswoman and panics) and forced dialogue (the friends compare the number of medicinal creams they each use), but there are also more throwaway scenes with shoot-the-shit dialogue that do more to flesh out the men's lives than anything in the overwritten pilot.
    • 78 Metascore
    • 75 Critic Score
    The show's flashback/forward structure has provided an interesting commentary on the relationship between time and narrative, but it also struggles against its 40-minute playing time and the expectations of a weekly network audience.
    • 78 Metascore
    • 88 Critic Score
    As in the show's third-season creative peak, the attention to continuity and timely plot devices is well balanced by the focus on character and actual comedy.
  19. It'll take every ounce of writer/creator Joe Weisberg's strength to keep this from seeming like a watered-down Homeland, or, worse, a film idea stretched across 13 hours.
    • 77 Metascore
    • 63 Critic Score
    Sensitive and well acted as this new Grey Gardens is, it feels like a wish-fulfillment fantasy that gives Little Edie a happy ending; the truth of this woman's life must have been much grimmer and messier.
  20. A good drama but an average psychological study.
  21. 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.
  22. 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.
  23. 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.
  24. Nucky has long been the king in this regard, but for once his throne seems like it's in real jeopardy, and it's a joy to watch him squirm.

Top Trailers