Slant Magazine's Scores

For 451 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 2.4 points lower than other critics. (0-100 point scale)
Average TV Show review score: 62
Highest review score: 100 Spartacus: Vengeance: Season 1
Lowest review score: 0 Red Widow: Season 1
Score distribution:
  1. Mixed: 0 out of 294
  2. Negative: 0 out of 294
294 tv reviews
    • 70 Metascore
    • 63 Critic Score
    It's "Ghost Whisperer" for adults, the equivalent of a movie you're happy you didn't pay to see at the theater, but content enough to have rented--amiable, distracting, and professionally crafted.
    • 70 Metascore
    • 50 Critic Score
    The Middle is just a show about a quirky family, and their quirks simply aren't that interesting.
  1. Hannibal is richer and more ambiguous than prior Harris adaptations; it's an exploration of social decay that's rife with literal and figurative cancers eating everyone alive from the ground up.
  2. Like Lisa Kudrow on the heinous The Comeback, Parker brings a great performance to a less than one-dimensional part.
  3. 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.
    • 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.
  4. It's effective, finely realized genre work from a notoriously dark and idiosyncratic director and it speaks directly to the show's reenergized interest in exuding its own distinct personality.
  5. While the cast delivers solid, funny performances, they're mostly just playing caricatures of themselves, and the rest of the supporting players range from forgettable to obnoxious, especially Danny Pudi, whose rambling Abed is about as endearing as stepping on a nail.
  6. With little exception, MacMillan is the sole character given scenes that seek to bring out his antic inner life, the most memorable of which being his meltdown in an electronics store, where he tries to find a hold of his ambition in a torrent of comingled rhythms emanating from various speakers.
  7. The show creates a fascinating and wonderful hyperreal world of shadowy figures, secrets hidden in codes, and perhaps even the revelation of a giant conspiracy. It's not completely original, but there's currently nothing on TV even remotely like it.
  8. The Spoils of Babylon is a dada high-wire act presided over by quasi-satirical nutters, and the chaos they invoke is oddly life-affirming.
  9. The Mindy Project is far more interested in the worn-out comic agenda of a smart, independent woman hamstrung by her obsession with finding commitment with a man than it is in self-excoriation or the unique proclivities of a chosen community.
    • 69 Metascore
    • 75 Critic Score
    In spite of this art-school eagerness to please, there's an appealing lyricism that permeates Southland.
    • 69 Metascore
    • 75 Critic Score
    A great movie is always a bit of a mystery, and that creative mystery is missing from the center of Haynes's Mildred Pierce, which cannot be faulted for craft or intelligence, but cannot be felt on the gut level of Cain, Crawford, or Curtiz, who might not have had a thought in his head about the story, but directs the hell out of it in pure visual and visceral movie terms.
  10. Empire coasts with the chutzpah of a series that knows exactly what it wants to say and how to say it, leaving viewers no quarter except to pick their jaws up off the floor between commercial breaks.
    • 69 Metascore
    • 75 Critic Score
    The balance of story potential is more evenly spread this time out [compared to Coven].
  11. The muddled and recurrently tedious Larsen case, littered with irrelevant conspiracy-theory subplots (what the hell is up with Holder's AA "sponsor"?) render The Killing a mystery show whose mysteries agitate and bore rather than mesmerize and astound.
  12. The season premiere alone places SAMCRO in three progressively darker, increasingly self-destructive set pieces sparked from confusion and ending with the gang indulging in some misguided retaliation.
  13. 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.
    • 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.
  14. The show's extravagant, aggressive joy about the friendly skies sometimes makes even that pinnacle of historical romance seem like a Lars Von Trier film in comparison.
  15. 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.
  16. Nikita is just another bland spy drama, an excuse to put women in skimpy outfits--Alias without a heart, Chuck without the sense of humor, and Covert Affairs without the good casting.
    • 67 Metascore
    • 63 Critic Score
    Fringe attempts something similar [to "Lost"] (with an opening scene involving a plane, no less) but can't quite match the primal thrill of vehicular destruction.
  17. Babylon wants to both mock the no-bull crassness of political wheelers and dealers and cling to a moralistic view of government, and the writers fail to find cohesion between these two perspectives more times than not. As a result, the humor often feels dulled by the relevancy of the subject matter, and the politics come off as both self-serious and frivolous.
    • 67 Metascore
    • 63 Critic Score
    Despite the increasingly incredulous scenarios, Weeds's writers have nevertheless managed to maintain a compelling tone that makes up for all the outrageousness.
  18. The Returned is little more than a nimble translation, but the material is strong enough to reward its staunch fidelity.
  19. While squirrel-eating jokes are all well and good for now, if Wilfred is going to make it, Wood and Gann will have to develop some real chemistry and comic rhythm, especially if the show's writers continue to be so reliant on the inherent novelty of their premise.
  20. In The Big C, cancer is simply an excuse to sell the vicarious thrill of on-screen narcissism.
  21. 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.

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