Slant Magazine's Scores

For 615 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 Hannibal: Season 3
Lowest review score: 0 Zero Hour: Season 1
Score distribution:
  1. Mixed: 0 out of 398
  2. Negative: 0 out of 398
398 tv reviews
  1. As much as it may cater to the urbane, feminist literati, this adaptation ultimately succeeds because it recognizes that intellectualism and visceral emotion intersect in fascinating ways.
  2. There's little of the numbing, script-heavy exposition in Mosaic that lards most TV shows, allowing the actors to fashion strikingly specific and stylish performances, defining characters by their habits and environments rather than by the mandates of signifying dialogue. Soderbergh provides resonant snapshots of the characters, boiling decades of history into glances and absurdist asides.
  3. The actors are charismatic enough to compensate for the self-consciousness.
  4. 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.
  5. In lieu of this transcendent attention to detail, however, there's still Brownstein and Armisen's magnetic and mysterious central relationship.
  6. 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.
  7. For a series called The Chi, there’s remarkably little here that lends a sense of specificity or a deeper view into the machinations of Chicago’s South Side--or even where in that expansive area the story is unfolding.
  8. This narrative passiveness scans less as psychosexual critique than as a case of writers getting lost in a thicket of obligatory happenstance.
  9. When Sense8 returns the sensates to their distinct and isolated story arcs, the series still falters.
  10. After three seasons, a satisfyingly dense layering of history and tension has been built into the relationships between the main characters.
  11. It may be possible to do something similar with Outlander, using feudal highland politics as a place to comment on contemporary issues, but so far the series only hints at this potential, leaving plenty of room for it to embrace its worst traits instead.
  12. There are few grace notes and no real surprises beneath the pumped-up topical melodrama. The Last Panthers's aesthetic is as numbingly generic as most of its characters, favoring that ashtray-gray sheen that many filmmakers prefer when staging European crime stories.
  13. Adapted from the British series of the same name, Getting On is billed as a comedy, but the show's setting, a neglected geriatric rehabilitation ward, is such an overwhelmingly depressing environment that much of the offbeat humor ends up flatlining.
  14. If discovering the sinister particulars of how they'll get there [the film Psycho] is the driving force of Bates Motel, the surfeit of subplots might be seen as a series of speed bumps or potholes, slowing an otherwise ferociously entertaining two-hander at every turn.
  15. Though the series continues to be handsomely lensed and sports perceptive, complex performances from Sheen and Caplan, the writers hesitate to take chances outside of this established dichotomy between the reserved visual style and the frank, open discussions about sex.
  16. Arthur's distinct humanity acts as a buoy when The Tick's cynicism becomes off-putting, and his story lends the gravity necessary to bring balance to the show's ironic silliness. As it incessantly mocks the excesses of the superhero genre, The Tick threatens to alienate its target audience by incidentally suggesting the show's own insignificance.
  17. 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.
  18. Mistaking vulgarity for comic edge and very thinly stretched punnery for wit, Veep is less a trenchant satire about contemporary politics than it is a relentlessly mean-spirited spectacle about crummy people.
  19. [Toback is] an uneven director, yes, but a frequently brilliant interviewer.
  20. There's no true sensibility governing Quarry; it's all signifiers and callbacks, whether inadvertent or purposeful, to more idiosyncratic shows and films. The series revels in a blandly familiar fugue state.
  21. Altogether, the second season of The Girlfriend Experience is knottier and more surprising, though somewhat less satisfying, than the first. But this is the sort of experimentation and inconsistency that push television beyond the dictates of delivering narrative by the yard.
  22. The cultural references feel a bit dated (the bubble-bursting housing-market collapse, Herman Cain proxy Herbert Love, The Blind Side, and The Social Network among them), and there's too much miscalculated racial humor and preoccupation with sex offender-related jokes, but there's still a plethora of fresh homonym-friendly wordplay, surprising parallels, and witty allusions to delight and preoccupy us until the series pulls off its next magic trick.
  23. Series creator Brian K. Vaughan's adaptation is yet another tepid melodrama, in the tradition of the recent Bates Motel, in which every creative decision appears to have been made in a trendy bid to appeal to the viewer's crotch.
  24. The Strain is a refreshingly bold deviation from TV's obsession with literal-minded crime shows that self-consciously flaunt their social relevance while wallowing in soap-operatic macho tropes.
  25. Interesting hypotheticals and shocking plot twists abound, but more than ever, those signatures are in service a broad argument.
  26. Subtext gives Easy its tart edge, emboldening it with an obsessiveness that resists fashionable platitudes. Swanberg captures the frictions between men and women and yuppies and bohemians, revealing a common core of fear that the other has got it better.
  27. The second season revealed artistic ambition, reaching for a certain amount of depth in characterization and storytelling. Assessed on that level, the last two seasons have fallen far short of the mark and it seems season five will only repeat the pattern.
  28. Jordan favors intimacy in his shooting; he prefers discussions behind closed doors or hidden in plain sight and affairs built on whispers of secrets. This visual tendency blunts the sharp edge of the series, as does his understandable but limiting focus on the eponymous family.
  29. It's in the relationships that these men come home to that defines Inside Men as markedly more engaging and effective than a great deal of its ilk.
  30. If FlashForward can keep the momentum it set in its premiere episode, the show's apocalyptic tone and fate-bending intrigue should prove deeply fascinating.

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