Slate's Scores

For 370 reviews, this publication has graded:
  • 38% higher than the average critic
  • 2% same as the average critic
  • 60% lower than the average critic
On average, this publication grades 8.1 points lower than other critics. (0-100 point scale)
Average TV Show review score: 57
Highest review score: 100 Louie: Season 4
Lowest review score: 0 Dads: Season 1
Score distribution:
  1. Mixed: 0 out of 161
  2. Negative: 0 out of 161
161 tv reviews
  1. The Voice (NBC) is a horrifically entertaining vocal competition produced by Mark Burnett.
  2. Why didn't HBO just go ahead and cut each episode of the hour-long Tell Me You Love Me to 50 minutes? The trims would have gone some way toward relieving the boredom inspired by the show's inchworm pace, and the shrink's-hour format would have made an exact fit for the spirit of the exercise.
  3. 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.
  4. This is a civil servant who has yet to be jaded, and the show is just good enough to keep you turning back in to see her unwarranted optimism curdle.
  5. Red Band is larded with quirk, twee, and pop music, all of which set my teeth on edge even as they sent my tear ducts into spasm.
  6. Viewers of a particular sensibility--that is, mine--will find themselves unwholesomely engaged by the tone Stylista brings to scenes about laying out sidebars and rethinking silly hats.
  7. 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.
  8. The show--a sporadically excellent adaption of a British teen drama--is superlative teensploitation, enabling youth to rejoice in the fantasy of their corruption, among other things.
  9. The illustrated title sequence of Comic Book Men depicts these guys as musclemen in tights, but the scenes that follow are strictly mild-mannered.
  10. Though the show is quick and exciting in its particulars, slick and captivating in its details, it is unfolding slowly as a whole, with perhaps one too many investigations, conspiracies, return-of-the-repressed traumas, and busy backstories curling leisurely into view.
    • 57 Metascore
    • 40 Critic Score
    There’s no bite to anything in this show.... The sketches that Crystal and Gad perform in are all solid B-minus to C-plus. Their stop-and-start friendship is utterly unremarkable. Nobody seems willing to go anywhere remotely risky.
  11. A document of cruel self-delusions, an index of unusual realities, virtually a postscript to the body of Western literature about romantic love, and an extraordinarily fine opportunity to exult in the suffering of your fellow human beings, Catfish is a TV show.
  12. Storage Wars--trivial and magnetic, sociologically peculiar and elementally creepy-gives the reality-show treatment to a class of merchants slinking beneath the radar of many a solvent citizen.
  13. 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.
    • 57 Metascore
    • 70 Critic Score
    Despite the depressing implications of having to appear on a reality show to find gainful employment... the show is a lot of fun, in part because of its theatricality.
  14. The show gets under the skin, somehow, with its loose Web-clip vibe and looser philosophy of life.
  15. Sarah Corvus has arrived to haunt and to taunt, to give our plucky heroine a sinister contrast that the show can't do without.
  16. The Newsroom's focus is on putting on a show, and because its weak points are howlers and it will be a hoot to laugh not with but at them.
  17. At certain moments, when Coyle and Malkovich banter about god, the devil, and England, Crossbones is almost the kicky fun it was meant to be.... But a few sentences later, Blackbeard returns to growling clichés.
  18. It's less a vision of what a real female presidency might be like than an extended allegory about gender politics in the workplace. And that's not necessarily a bad thing.
  19. Clever with its gaudiness, the new soap opera proceeds as if that invitation is gilt-edged, tackily engraved, and sealed inside an oversized envelope with a kiss of frosted-pink lipstick.
    • 55 Metascore
    • 70 Critic Score
    American Idol... has been excellent Tuesday-Wednesday entertainment this summer. ... The individual efforts at star turns have been genuinely exciting. ... For our part, American Idol fans, who watch chiefly to see if we can pick a winner, have become accustomed to the show's tackiness, its repetitions, and its garish product placement.
  20. It is a terrible sign when a show has no sense of humor, but Believe almost has too much of it. It looks great--Cuarón, who just won an Oscar, directed, after all--but there is something off-puttingly cutesy about it.
  21. The Fairy Jobmother, adapted from a British show of the same name, follows the model of Supernanny--that child-rearing-rehab spectacular--with a diligent slavishness.
  22. Dracula flirts with camp, without quite committing. Unlike Fox’s Sleepy Hollow, in which Ichabod Crane finds himself alive in the present day, Dracula does not seem to be in on the joke of itself.
  23. It seems a statement of the obvious to call the new Melrose trash, but a reviewer must observe certain formalities--and at least it is trash we can dig into and learn something from,
  24. Memo to network execs planning an all-forensics programming slate for fall: Watching attractive people poke at skull fragments is not inherently interesting.
  25. Grimm is most alive in the scenes where Nick teams up with Monroe (Silas Weir Mitchell), a monster who is trying hard to walk the straight path. These moments introduce some much-needed levity to a drama where every echoing slam of a file-cabinet drawer amounts to a portentous groan.
  26. Hemingway & Gellhorn's daft romanticization of its subjects proves central to its overwrought sense of self.
  27. The new worst show on television debuted Wednesday night on Lifetime--Dance Moms, an ugly docu-circus featuring a megaton bully of a Pittsburgh dance instructor, the little princesses she costumes as lunatic street whores, and a quorum of strenuously pathetic stage mothers, one of whom warbles that she would slit her wrists if her daughter even thought of trying out for softball.

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