Slate's Scores

For 292 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 9.5 points lower than other critics. (0-100 point scale)
Average TV Show review score: 55
Highest review score: 100 The Returned: Season 1
Lowest review score: 0 Dance Moms: Season 1
Score distribution:
  1. Mixed: 0 out of 117
  2. Negative: 0 out of 117
117 tv reviews
  1. Ambiently amusing but generally inert, the show is badly in need of a hard-edged producer to tell the series' creators that they cannot get by on charm, no matter how much of that precious quality is imported by such guest stars as Lily Tomlin, Rashida Jones, and Bob Balaban.
  2. A middling documentary about a major actor-director-buffoon.
  3. The illustrated title sequence of Comic Book Men depicts these guys as musclemen in tights, but the scenes that follow are strictly mild-mannered.
  4. This is a goofy docu-reality show about the sex lives of settled married couples.
  5. Common Law, with its storylines moving forward in broad strokes and an airiness in its exposition, does not demand too much of you or of anyone, beyond its own efficient technicians and unshowily inventive actors.
  6. Hit & Miss has so many ups and downs that it cannot dodge the critical judgment any hack might deliver by quoting its title.
  7. Boardwalk Empire is as good-looking and well-acted as ever, but it still has bullet holes where its head and heart should be.
  8. CrazySexyCool is a not a particularly well-constructed biopic, hopping from moment to moment like moviemaking was just a matter of checking scenes off a list, but it does everything that Tionne “T-Boz” Watkins and Rozonda “Chilli” Thomas, the two surviving members of TLC, could ask for: It will absolutely convince you that TLC was amazing.
  9. It’s just adequate, but adequate noir can really enliven an otherwise tedious gangster story.
  10. The show makes Granthams of all of us: content with what we have now (a middling costume soap opera) because we can still remember its glorious past (that first season). It’s safer and cozier than a show about open class warfare.
  11. Late Night with Seth Meyers felt totally professional and not at all embarrassing--which means it also felt standard and boilerplate.
  12. Crisis needs to lean more Blacklist: If you’re going to be dumb, at least be a good time about it.
  13. All of these characters and all of these stories frequently add up to something handsome, funny, and weird. But Fargo is missing the spark of originality that would make it great.
  14. Reunion doesn't seem to get how important character is to carrying a show.
  15. The show's focus remains frustratingly narrow.
  16. The next four episodes are nowhere near as patient and controlled as that cinematic pilot, but, man, are they Irish: the wakes, the neon shamrock, the epigraphs from W.B. Yeats and D.P. Moynihan. And the show keeps this magnificent blarney up even as it swipes half its ideas from the playbooks of Scorsese and The Godfather.
  17. Occasionally sharp as an epidural needle, often dumb as a pea pod, sometimes half decent.
  18. Farmer Wants a Wife moseyed onto the air last week bearing the best title of any pop-culture commodity of the year to date and, given its standard-issue inanity, a surprising subtextual richness.
  19. Rolling the wars on terror, drugs, and illegal immigration into one rhetorical package, Homeland Security USA plays partly like a pumped-up recruiting film, partly like a public-affairs outreach video for hard-core video gamers.
  20. The way things turned out, it was no worse than rather bad, and Fallon, if he can quit squirming long enough, should take a modest bow.
  21. The jokes never got any better than that, not even when the girl-moppet later waxed ecstatic about Zac Efron in High School Musical.
  22. It is both an active agent of moral depravation and a total hoot.
  23. The Jay Leno Show is of course not the "brand-new hour of comedy" its promos claim; it is brand-old to the bone. But the notion of Leno running some combination of pop-culture confessional booth and prime-time torture chamber has some real appeal.
  24. I don't exactly know what to say to [a quote from the Updike book], nor did the 1987 film adaptation starring Jack Nicholson, nor does the predictably bland and totally adequate Eastwick.
  25. Fantasy plots require fantastic details, but the show, rolling steadily downhill from a compelling premise, is utterly casual about the particulars of its speculative time-tripping and post-catastrophe atmospherics.
  26. While no one beyond the show's target audience--teens in need of something to squeal over until Gossip Girl returns next season--would claim that Pretty Little Liars has a voluminous body, I must concede that it has a lustrous shine.
  27. The series' approach to violence against woman is the only complex thing about it. Otherwise, you cannot even call Rizzoli & Isles run of the mill, it being that mills usually run more smoothly.
  28. Though No Ordinary Family bears many hallmarks of an interesting failure, it falls slightly short of the distinction on account of its resistance to being consistently interesting.
  29. Glory Daze is a frathouse-of-mirth comedy and so generic in its particulars that it is barely even necessary to describe its characters and their situation.
  30. Depicting their triumphs and setbacks with imperfect sincerity, smooshing together various reality-show formulae with an awkwardness that is at times touching, the series sheds light on a corner of the psyche where the princess-y obsessions of the wedding culture meets a mutation of the great American tradition of self-improvement.