Slant Magazine's Scores

For 550 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 2.2 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Fargo: Season 2
Lowest review score: 0 Anger Management: Season 1
Score distribution:
  1. Mixed: 0 out of 354
  2. Negative: 0 out of 354
354 tv reviews
    • 80 Metascore
    • 100 Critic Score
    Finishing each episode is like closing up a really great, gritty, little crime novel.
  1. 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.
  2. If the characters are a bit weak, The Walking Dead still has a compelling scenario going for it.
  3. The narrative structure of the series is not at all as ambitious as its price tag may suggest. Benioff and Weiss have chosen the easiest way to tell this story, and the show suffers from it. Following from that stunning close-up that opens the show, Game of Thrones does its best work in the close-up mode. The reason to keep watching this show lies in a handful of intricately drawn, engagingly performed characters.
  4. 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.
    • 80 Metascore
    • 88 Critic Score
    The duo's knack for a peculiarly modest zaniness is shared with the brilliant supporting cast.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. Lights Out isn't a knockout, but it's got enough grit and sweat to keep viewers on their toes.
  11. [A] starry-eyed, badly acted, occasionally stirring series.
  12. 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.
  13. 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.
  14. Hannah and most of her friends share a quick-witted, sardonic millennial sense of humor, but their banter is at its funniest and most revealing when the characters are oblivious to the effect of their words.
  15. 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.
  16. The imagery is gorgeous yet curt and parred, with jagged editing complementing the declaratory dialogue and Shane Carruth's spare score.
  17. 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.
  18. 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.
  19. 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'.
  20. The cast is so uniformly excellent that one's seduced into following the narrative despite the show's rather glaring narrative flaws.
  21. Better Call Saul is a nifty and promising comic noir, but it also allows you to ponder certain missed opportunities.
  22. 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.
  23. Even as the series begins to show its age, Archer's commitment to character ensures that these episodes never feel too familiar.
  24. 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.

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