Slant Magazine's Scores

For 841 reviews, this publication has graded:
  • 34% higher than the average critic
  • 4% same as the average critic
  • 62% lower than the average critic
On average, this publication grades 3.7 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 The Knick: Season 1
Lowest review score: 0 Zero Hour: Season 1
Score distribution:
  1. Mixed: 0 out of 557
  2. Negative: 0 out of 557
557 tv reviews
  1. Players may not reach the comedic heights of American Vandal, but it most visibly follows in that show’s footsteps by taking its characters seriously, no matter how ridiculous their situation may be.
  2. Even when The Old Man’s writing doesn’t always live up to Bridges and Lithgow’s immense talents, the actors don’t have any trouble making the material feel believable and incredibly lived-in.
  3. It’s a credit to Assayas’s willingness as a creator to dig ever deeper into his experience as a filmmaker and person that this remake of a remake telling the story of a remake of a remake finds such original and organic material to mine—and does so with such a personal touch.
  4. Boyle’s full-throttle sensibilities wrestle against the moments of sentimentality and heavy-handed nods to the Sex Pistols’s most disreputable members. But Pistol is unapologetic and joyfully unabashed in its vulgarity, which makes a fitting tribute to a bunch of rabble-rousers who never shied away from making an impression.
  5. The series has a few charming deviations from the 1965 film, and the allegiances between its characters are excitingly muddled, especially across scenes where they make veiled threats to one another in polite settings. But expanding the story has done its tired themes few favors.
    • 66 Metascore
    • 75 Critic Score
    The beautifully sketched contours of Franklin and Irene’s relationship—their shared sense of history, shaped by an unbearable loss—provides an emotional and dramatic core to the series that more than compensates for the lack of context around the chamber.
  6. Candy prefers to examine how the madness of a monotonous life can kill someone spiritually, and it’s most interesting when it locates the humanity that even the most depraved among us possess.
  7. The first six episodes are fun, light, and well-crafted, but much of what Strange New Worlds offers can’t help but come off as clever franchise strategizing.
    • 64 Metascore
    • 75 Critic Score
    For all the tension that Now and Then whips up with anxious texts, wiretapping, and races against the clock, the most engaging aspect about the series isn’t its visceral murder mystery, but its depiction of the ways in which social status can doom people to avoidable and tragic fates.
  8. The imperative to take a rhetorical stance on this historic case has perhaps led Simon to eschew some of the richness and complexity that enlivened his earlier work, but at its best, We Own This City still possesses a thrilling urgency.
  9. The series has lost the air of uncertainty in favor of depicting lives whose problems are implausibly neat and solvable. It’s a journey for definite solutions that feels less like the messy, disorienting process of being alive than playing a video game while reading the strategy guide.
  10. As Jeb discovers his anger, he gives shape to Under the Banner of Heaven’s central concern: the struggle to attain personal agency in the crushing course of history.
  11. While all of those issues [immigrant experience, the ever-present dangers of capitalism, and America’s failing healthcare system] are certainly worthy of exploration, the show’s distillation of its themes is neither subtle nor subversive. The writers seem to be aiming for something deeply affecting in an attempt to appeal to a wide audience, but they fail to recognize the key to the power of Tevis’s story: its peculiarity.
    • 48 Metascore
    • 63 Critic Score
    What begins to detract somewhat from this entertaining pulp is the focus on the real-life mafia itself.
  12. As Barry fearlessly digs into the depravity of its combustible characters, including Anthony Carrigan’s unfailingly polite but incompetent NoHo Hank, it only becomes more confident in its nervy, high-tension mix of showbiz satire and absorbing dramatic stakes.
  13. Mostly she’s confronting past versions of herself who try to lure her back to drinking, but we also get surreal synchronized swimming sequences that are both gloriously goofy and disturbing. There’s a real-life meeting with her embittered mother (Sharon Stone), too, that’s hard to watch as parent and child put each other through agony. Some fairly static subplots involving Cassie’s bestie, Megan (Rosie Perez), and her lawyer pal, Annie (Zosia Mamet), pale in comparison to her own heightened internal struggles.
    • 79 Metascore
    • 75 Critic Score
    The season’s plotting isn’t as tight as the first, opting instead for a more expansive historical backdrop that allows ample time for the story to really dig into its characters’ backgrounds. But by increasingly leaning into its sci-fi elements, Russian Doll continues to strike at an emotional core through flights of delirious weirdness.
  14. Although the show’s concept of trauma resonating throughout multiple eras and warping reality itself is definitely intriguing, it’s only touched on briefly, with a few on-the-nose snatches of dialogue delivered by astronomer Jin-Sook (Philippa Soo) being forced to do much of the thematic heavy lifting. The rest of the time, the focus is on lukewarm explorations of patriarchal oppression, journalistic integrity, and familial strife, and the series fails to set up any believable conflicts, let alone to say anything new.
  15. What meaning does anything hold next to the nothing of oblivion? The question courses through Outer Range, an alluring exploration of lives and lands that have been all but annihilated.
  16. Roar feels more like a series of free-floating metaphors tied limply to the skeleton of a plot.
    • 75 Metascore
    • 63 Critic Score
    While Tokyo Vice takes some time for its characters to break out of their archetypal molds, though, it relishes in creating beautiful spaces.
  17. Steven’s and Marc’s dialogue encapsulates the divide between the allure of the two characters: Where the former is as unpredictable as the bonkers British accent that Isaac has concocted for him, the latter speaks in flairless American. But their interactions grow tiresome due to Marc’s overwhelming blandness, as he’s confined to the familiar mold of the tough, emotionally withholding alpha.
  18. As these competitive, cynical spymasters keep changing the rules of the game, the Slow Horses maneuver through an increasingly fraught and dangerous series of challenges with an earnest, seriocomic clumsiness that keeps Spy Horses from taking itself too seriously.
    • 61 Metascore
    • 38 Critic Score
    They’ve avoided the trap of filling precious screen time with impenetrable jargon and shorthand, but the result is an extensive mythology rife with political machinations that, at least in the first couple of episodes, feels alternately opaque or convoluted.
    • 87 Metascore
    • 88 Critic Score
    The limited series is an artfully staged and detailed historical epic that alternates between three time periods, juxtaposing the present with poignant memories of one family’s experiences across generations. ... For all of Pachinko’s rich multi-generational plotlines and compelling secondary characters, it’s Sunja who remains the story’s heart. ... [Lending] Pachinko its dramatic heft and most heart-wrenching moments.
  19. Human Resources proves that there’s both comedy and poignancy yet to be mined from the impulse-creature conceit, even if it can’t fully expunge the aura of being an arbitrary spin-off.
  20. The series is doubtlessly setting the stage for an eventual explosion of conflict encompassing parties both in and out of Greenvale, but with the early storylines mostly given over to the slow reveal of everyone’s past, it’s easy to wish that it took a little less time to pick up steam.
  21. The Last Days of Ptolemy Grey starts strong but, by failing to probe further into its protagonist’s life, its main character only grows thinner as the story progresses.
  22. The discovery that Elizabeth might not be the most interesting or important person on screen at all times is what makes The Dropout so watchable and so often startlingly moving.
  23. Whatever massaging has gone into coherently dramatizing this story never feels like enough. Travis often goes on about how the Uber app is meant to be a “frictionless” experience, but this misshapen series is anything but.

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