Slate's Scores

For 368 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 7.9 points lower than other critics. (0-100 point scale)
Average TV Show review score: 57
Highest review score: 100 The Good Wife: Season 6
Lowest review score: 0 I Wanna Marry Harry: Season 1
Score distribution:
  1. Mixed: 0 out of 160
  2. Negative: 0 out of 160
160 tv reviews
  1. Judging from the first three episodes of this fifth season, Harmon is vindicated and triumphant, but also still pretty torn up about everything. Community is no longer a zombie, but the new episodes feel plenty funereal.
    • 70 Metascore
    • 80 Critic Score
    However sensationally the show has been marketed, it focuses, like the designers, on the work itself-which, perhaps surprisingly, is as riveting as the few catfights.
  2. Boss is electric with self-importance, and that is in itself is a hoot, given its particular combination of thematic pomp and expressionistic pulp.
  3. The writing is as crisp as Brooks' perfect raincoat, and the partners share a father-son chemistry unseen elsewhere in the franchise, and anyone exhibiting the faintest traces of Anglophilia will delight to see the crown prosecutor and the defense counsel talking trash in the changing room while donning and doffing their barristers' wigs.
  4. Now comes Grey Gardens, largely enjoyable in spite of being almost entirely superfluous.
  5. Season 5 of Game of Thrones pulls even further away from the novels (the Sansa plot will drive some fans crazier than King Aerys) and I’m fairly sure it’s better for it.
  6. For a show about sex and attraction, Masters of Sex is very cerebral, measured, distanced. But so are its characters, who use their intellects to protect their vulnerabilities.
  7. [A strange, zany, funny, and very star-studded six-episode series.
  8. What Surburgatory lacks in novelty, it compensates for with a steady stream of gags, splashes of nuance (and nuance's vivid opposite), the comedic flow of Ana Gasteyer and Chris Parnell as the Altmans' neighbors, and an undercurrent of sweetness.
  9. [The first episode] seems to prefigure a humdrum season of more conventional, gag-based humor, but beneath its self-contained farce the episode actually complicates C.K.’s pet themes in small, potent ways. And it’s ultimately a perfect setup for the story arc that follows in the next few episodes.
  10. Maslany’s performance is, however, a bit like truffle fries arriving in a Happy Meal: It is much more sophisticated than everything else around it.
  11. [A] gritty and entrancing British import.
  12. The Leftovers is overwhelmingly, existentially serious, without succumbing to the relentlessly violent and masculine clichés of so much “serious” prestige TV.
  13. 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
  14. Patrick’s moment of light self-flagellation didn’t feel boring to me. Like the rest of his show, it felt real.
  15. It’s not just that Broadchurch demonstrates that it is possible to reinvigorate something as tired as the hunt-for-a-killer genre with solid, engaging craftsmanship--though it does--but that unlike so many in the genre it is inordinately emotionally generous.
  16. The show gets under the skin, somehow, with its loose Web-clip vibe and looser philosophy of life.
  17. 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.
  18. The tempo, thus far, is notably deliberate; the show's got mortality on its mind.
  19. Too jaded to lament the backroom maneuvering of politicians, the creators of House of Cards instead take that state of affairs as a given, tart it up, and fashion a wry piece of escapism--a backstabbing procedural delivered in a sophisticated style.
  20. It offers memorable looks at rehearsals, auditions, ballet-company competitions, and dreams of names in lights.
  21. Doors are opening. Mind the gap.
  22. BoJack is perhaps a little more clever than it is uproariously funny, but it is often very clever, and, moreover, well-tuned to the ludicrousness of the sort of low-level fame that surrounds BoJack.
  23. The series is a robust and satisfying experience, one that doesn’t skimp on the story’s world-spanning political and religious intrigue, but keeps at its center one man whose calm gaze focuses the sweeping material and makes it feel manageable.
  24. Last Man on Earth is well-made, polished, odd, surprisingly funny.
  25. Mom is more than what it appears. The hectoring laugh track grates, but don’t let it fool you, this show’s got brains.
  26. It’s almost as impossible to believe, without seeing it, that such a show could be both very funny and occasionally uplifting without ever resorting to cheap sentimentality. But it is.
  27. A brisk film extracted from the campaign-trail saga of that title--has delivered to Julianne Moore the meatiest role of her career.
  28. The first four episodes fly by in a blur of cheeky maxims, convoluted plot twists, and storylines about the deep Web.
  29. Humor, terror, sex, death, camp, karaoke: No show on television has all these ingredients but American Horror Story.

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