Slate's Scores

For 325 reviews, this publication has graded:
  • 36% higher than the average critic
  • 2% same as the average critic
  • 62% lower than the average critic
On average, this publication grades 9 points lower than other critics. (0-100 point scale)
Average TV Show review score: 56
Highest review score: 100 Louie: Season 4
Lowest review score: 0 Dads: Season 1
Score distribution:
  1. Mixed: 0 out of 131
  2. Negative: 0 out of 131
131 tv reviews
    • 98 Metascore
    • 100 Critic Score
    As viewers, because of the incalculable talents of the actor Gervais, who also helped create the show, we must choose to humor David or to loathe him—and that choice is exciting, somehow, and challenging.
  1. A gorgeous period drama that swiftly establishes its risqué themes.... Masters of Sex is the best new show of the fall season.
  2. The Returned is very good. Let it have your brains.
  3. Creepy, gorgeous, unsettling, and searching, it has--for lack of a better word--a literary quality, an accretion of meaningful detail. You can push on any aspect of the show--every line, every shot, every bruise--and it bears up.
  4. There’s nothing programmatic about Louie, which idiosyncratically, unevenly explores C.K.’s ideas and instincts without trying to advance an argument. It’s not a joke you’ve heard before. It’s a great shaggy dog story.
  5. Unexpectedly sweet-spirited.
  6. A return to classic form.
  7. Even if Extras never accedes to The Office's heights of comic sublimity, it's still a rare find on American TV: a series that combines the ascendant genre of cringe comedy with Gervais' rich comic gifts, and his trademark humanism.
  8. It smoothly toggles between working as a crime melodrama and a coming-of-age tale, as a harrowing piece of social commentary and a gentle bit of farce.
  9. The most engrossing new drama of the fall season.
  10. It's a breath of fresh air even for those of us who find our allergies stimulated by the countless particles of whimsy suspended in its thick atmosphere.
  11. At the outset, this show aimed for hilarity and hit the mark, consistently and cathartically, while also trafficking in provocative sidewalk philosophy, achieving moral seriousness amid masturbation jokes.
  12. Using new audio-only interviews with the Stones as invisible tape, [director Brett Morgen] splices 50 years of footage into a 110-minute education, remixing the work of earlier filmmakers with splendid editing and a critical eye.
  13. There isn't a scene in the two-hour pilot of Paul Haggis' crime drama EZ Streets that hasn't been done in movies, but perhaps because EZ Streets is on television... its cinematic brio feels unconventional, even startling.
  14. In the context of other television, American Horror Story is perverse and refreshing, proof that a great show doesn’t have to be self-serious to be smart.
  15. The third season is looser, funnier, more emotional and also significantly less logical than what has come before.
  16. Watching, it is almost impossible not to root for these two Communists as they do any and everything they can to undermine America. In this regard, The Americans works its American audience as effectively as its heroes work their marks: It makes double agents of us all.
  17. Murphy directs with straightforwardness and sincerity and none of the camp fireworks of Glee or American Horror Story.
  18. Almost every woman is a good person who made or was forced to make a bad decision, instead of something more sinister, more evil, or even more banal--as if these too were not human characteristics.... But if this sentimental streak is a little soft-headed, it springs from the series’ huge heart and its expansive humanism.
  19. The show is sometimes sweet and wry, sometimes crass and vicious, and, though often subtle, it embraces that embarrassing title and flings itself boisterously into a hacky premise
  20. Back to You doesn't have a mandate to be inventive--to try new comedic beats or to attempt daring flights of absurdity. It just needs to be uninventive in a snappy way, a feat readily accomplished.
  21. Their new show has both the nerve to link up twentysomething malaise and 21st-century terror-angst and the good nature to make the proposition look endearing.
  22. Sarah Corvus has arrived to haunt and to taunt, to give our plucky heroine a sinister contrast that the show can't do without.
  23. The tempo, thus far, is notably deliberate; the show's got mortality on its mind.
  24. Costello, unlike public television, asks viewers like you for nothing but your attention, which he rewards with intimate assessments of songcraft and the underappreciated architects of modern pop.
  25. Now comes Grey Gardens, largely enjoyable in spite of being almost entirely superfluous.
  26. The show gets under the skin, somehow, with its loose Web-clip vibe and looser philosophy of life.
  27. Falco has the strength to sell the overwrought cliches and to force each important moment to its crisis.
  28. At its best, Glee is not just entertaining but elating, dramatizing Breakfast Club-quality teen angst with the aid of tight production numbers covering new and classic popular songs.
  29. The pacing of the show's jokes, which heralds a welcome respect for the quickness of the audience, helps all the humor pop. Of course, good-old dumb physical juxtapositions don't hurt, either.

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