Slate's Scores

For 378 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 7.7 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 Roseanne's Nuts: Season 1
Score distribution:
  1. Mixed: 0 out of 166
  2. Negative: 0 out of 166
166 tv reviews
  1. 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.
  2. A brisk film extracted from the campaign-trail saga of that title--has delivered to Julianne Moore the meatiest role of her career.
  3. The first four episodes fly by in a blur of cheeky maxims, convoluted plot twists, and storylines about the deep Web.
  4. Humor, terror, sex, death, camp, karaoke: No show on television has all these ingredients but American Horror Story.
  5. Appropriate to the pace and the space of series television, it welcomes you into its intrigues at a walking pace.
  6. As is The Americans way, ideas and ideologies—Philip and Elizabeth’s soft- and tough-love approaches--start to ping-pong off each other, and contemporary mores, in satisfying ways.
  7. The relative tameness of Swingtown makes the unease it provokes more inviting: You tune in to see the bodies and stick around for the minds.
  8. Even the most ardent fans of 30 Rock will concede that it doesn't look its sharpest as its third season opens. Only the most churlish will be much put out by this, though. A relatively flat episode of Tina Fey's backstage farce is still the fizziest thing in prime-time comedy.
  9. A fine summer show is launched, slick but with feeling, and all the orange-and-red football-season foliage on-screen contributes to a diverting brisk breeziness.
  10. Thankfully the greatest love story no one ever wanted to be a love story is not the focus of the first two episodes, which illustrate the power and punch Homeland can still muster when freed from its more Hallmark-ian tendencies.
  11. In the 3-D digital animation of this series, [Yoda's] skin glows a healthy shade of moss, and his sprightliness helps this latest George Lucas diversion achieve some commendable action-adventure zip.
  12. The new episodes make Daniel less complicated, not more.... Compared with Daniel, the other characters on the show are flawed, vivacious, and far more fun to watch.
  13. Though the Up All Night pilot falls short of great hilarity, the series demonstrates considerable potential.
  14. The Bond stuff is, on the whole, more enticing than Ann and Ian’s psychological pas de deux, which skirts up against real issues--and rape fantasies--before giving them a gauzy gloss of true love.
  15. Derek is a fascinating, well-meaning mess, without being a particularly offensive one.
  16. Despite and because of its many points of disconnection from the reality of the industry it purports to illuminate, I liked it and quite enjoyed biting my thumb at its cast (like a Capulet servant) while watching the pilot.
  17. So far, American Horror Story isn't the great American horror story but rather a pretty good fright night.
  18. Ben Franklin (Tom Wilkinson ) enlivens the painterly prettiness and dutiful solemnity of John Adams with a healthy sense of the vulgar, as in the vernacular, as in the native voice of America.
  19. Three seasons in, just about everyone on the show is loveable. This makes for a thoroughly enjoyable, but not particularly varied or gripping viewing experience: the show tugs the same heartstrings, works the same funny bones.... Orange would rather make prison look good than make its characters look bad, a jarring streak of timidity.
  20. There are times when I wish Penny Dreadful were baser, lower-brow, and more exploitative than it is apparently willing to be. And yet I can’t quite dismiss it, thanks to winning, carefully modulated performances by Billie Piper—as a woman who fears the man whom she was brought back to life to wed--and Helen McCrory, whose full-bodied incantations are even scarier than Vanessa’s.
    • 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.
  21. It's neither wildly innovative nor sidesplittingly funny, but it has a warm, cozy group vibe and no flagrant casting mishaps.
  22. Better Call Saul improves over each of its first three episodes, but the first takes for granted that viewers not only know who Saul is, but that they will care about him even in the absence of a clearly delineated character arc.
  23. Due to all this ambitious sprawl, Game of Thrones only occasionally puts together a satisfying standalone episode. There is too much going on, the one-hour limit too arbitrary.... It’s the particular power of Game of Thrones that as these characters descend further into the muck and the grime, the besmirching totality of violence, we’re still pulling for so many of them.
  24. This being Disney product, these issues are dealt with in primary colors, uplifting tones, and production levels that aim for exact competence—a workaday professionalism that's never too slick to alienate anyone.
  25. We like to fantasize, every now and then, about rich people looking good while behaving badly. That kind of escapism will never go out of business, and Gossip Girl delivers it in of-the-moment fashion.
  26. By its very nature, the position Colbert occupies—the butt of his own show's joke—seems more difficult to sustain than Stewart's role as the eternal observer.
  27. It borrows indiscriminately from hazy magic realism, sketch-show Dada, and underground-comics allegory according to alternating whim. If you don't give a hoot about such logistical issues--and if you're willing to forgive the half-hearted crudity that fills the space between good crude jokes and the bizarro non-jokes-then you have come to the right place.
  28. Its detective plots are cozily formulaic, its defining twist cheerfully preposterous. As cop-show comfort food, it's a kind of California fusion cooked up to appeal to people fed up with techno-beat lab scenes.
  29. The Pitch is like an all-you-can-eat buffet of salesmanship.

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