Slant Magazine's Scores

For 908 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 4 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 I May Destroy You: Season 1
Lowest review score: 0 Bleep My Dad Says: Season 1
Score distribution:
  1. Mixed: 0 out of 598
  2. Negative: 0 out of 598
598 tv reviews
  1. Platonic is a far better show when it focuses on its characters’ shenanigans than on social commentary.
    • 72 Metascore
    • 63 Critic Score
    Despite its martial arts flair, American Born Chinese’s most powerful moments come from its small cultural specificities.
  2. While TV often deploys split timelines to feign narrative depth and spring gimmicky twists, The Clearing’s temporal structure deftly elucidates the cult’s devastating legacy. Freya’s profound trauma courses through every scene she’s in.
  3. Showrunner Graham Yost greatly overestimates the depth of this paint-by-numbers sci-fi dystopia, adapted from Hugh Howey’s book series.
    • tbd Metascore
    • 75 Critic Score
    On a visual level, Unicorn: Warriors Eternal pulses with boundless energy and infectious whimsy, but the show’s true resonance lies in its exploration of the Chosen One trope.
  4. No matter how strange or silly things gets, Bupkis keeps one foot on the ground thanks to its endearing central characters, including Pete’s mom, Amy (Edie Falco), a woman who’s no longer surprised by her son’s behavior, and his grandfather (Joe Pesci).
  5. In the end, White House Plumbers takes itself a touch too seriously to succeed as a farce but draws its characters too broadly to achieve any real pathos.
  6. Olsen works hard to imbue her character with more nuance as the strain of events begins to grind Candy down. But the series itself seems content simply to recreate the events of her case rather than explore them in any deeper psychological or thematic fashion. After seven hours, we end up with no more insight into what happened on that fateful day in Wylie, Texas than if we had just stuck to the Wikipedia page.
    • 79 Metascore
    • 75 Critic Score
    This gender-inverted adaptation offers a welcome, if sometimes unsubtle, twist with its social commentary about maternal health and bodily autonomy. It also adds a few tonally inharmonious moments of outright social satire, particularly where the Parkers and their heinous extended network are concerned. But the biggest strength of this Dead Ringers, like its predecessor’s, is its stylish sense of dread.
  7. Its mixture of comedy and fantastical nostalgia is still an intoxicating as ever, and its characters’ rat-a-tat dialogue and cheerful boozing, not to mention the show’s impressive period design, all suggest Mad Men as a zany Broadway farce.
    • 86 Metascore
    • 88 Critic Score
    There are times when Beef’s mix of deliciously dark comedy and gentle-hearted empathy doesn’t quite coalesce. ... But that doesn’t make the show’s complicated, compassionate depiction of mental health or riotous portrayal of just how liberating it can be to indulge our pettiest impulses any less satisfying to sink your teeth into.
  8. There was never going to be a “winner” in the battle for the throne, the series has thrilled us with depictions of the extent to which the players lose in their quest. And as we approach the end, the Roy family’s journey toward self-destruction remains a darkly captivating spectacle.
  9. Though Swarm is diverting enough, it concludes with the sense that it hasn’t done much more than lightly sketch a portrait of the extremes of stan culture.
    • 78 Metascore
    • 88 Critic Score
    In season two, the deliciously twisty thriller continues to draw much of its strength from its confident ambiguity and delayed revelations, leading us not to Big Answers, but further into the thicket of story and symbolism.
  10. Based on the four episodes made available for review, season three is more of a throwback to Ted Lasso’s original formula of silly plus tender, multiplied by wickedly smart. It’s only in comparison to the show’s previous highs that these episodes feel somewhat earthbound.
  11. The characters’ antics and idiosyncrasies—disrupting each other’s classes, dedicating lectures to tearing down each other’s work, talking insistently in literary quotations—often verge on the cartoonish. ... Lucky Hank does traffic in some interesting ideas about the generational divide between faculty and students.
  12. This lack of character development renders the show’s big, dramatic confrontations inert.
  13. Perry Mason’s second season may be watchable, but it’s so much louder about saying so much less.
    • 42 Metascore
    • 38 Critic Score
    With its heart caught between a daytime soap and a gritty superhero drama, it never feels as potent or as focused as its premise promises.
  14. We never see an ordinary workday, and we have so little sense of the characters’ personal lives that any mention of them feels jarring. They seem to exist only as lenses through which to view the ensuing chaos, not least of which because the series fails to drum up a plausible reason for Craig and Elaine to stop shopping their résumés around and stay at CompWare. Viewers, luckily, are under no such obligation.
  15. The Company You Keep eschews this opportunity for tension or real sparks in favor of a straightforward good-versus-evil tale and easy likeability. As a crime show that ardently refuses to get its hands dirty, it can’t help but come off as a one-dimensional photocopy of better films and TV shows.
  16. The series deftly tackles timely issues with breezy reckonings, interrogating them—and laughing at them—but avoiding ham-fisted didacticism.
  17. Clearly there are meant to be modern parallels in this tale of hucksters duping people who will believe whatever they want to believe. But the themes never quite gel, leaving even the histories of more complex characters like Jack feeling undercooked.
    • 56 Metascore
    • 50 Critic Score
    The creative team smartly kept the show’s universe manageable with tightly interwoven arcs, but the second season doesn’t retain that focus. Thus, the most promising character arcs grind to confounding halts, leaving key conflicts unresolved and ultimately failing to justify the inclusion of these subplots at all.
    • 48 Metascore
    • 38 Critic Score
    The decisions they make don’t seem to stem naturally from who they are, but from what the narrative needs them to be. Regrettably, this makes it nearly impossible to find anything to engage with in what amounts to a mediocre B thriller.
  18. The show’s repetitive structure (new obit, new ghost) overwhelms any forward momentum of the living characters’ relationships, and the thinness of some of the supporting characters doesn’t help.
  19. Occasionally, Poker Face feels as though it’s running up against the fundamental disconnect of its format: that murder is a serious crime that happens to a real person but also a constant vehicle for pure entertainment. ... But in the end, the series is designed to ably coast on Lyonne’s charm as she spars with its myriad guest stars—and on that front it delivers in spades.
  20. While Shrinking does sail a bit close to the wind at times, it mostly does a good job of keeping its whimsical side sufficiently anchored in reality.
    • 58 Metascore
    • 75 Critic Score
    So much of what made That ’70s Show such a bingeable show is gleefully intact here: the humor, the heart, and, perhaps especially, the nostalgic, era-specific plots. But what really solidifies That ’90s Show as good television is its cast of newcomers, who quickly earn their spots on that legendary—and, by now, moth-eaten—basement couch.
  21. In the end, by stripping out the gameplay from a vivid genre game that’s fleshed out by cinematic and televisual tropes, the series ends up as mostly just the latter: all flesh, no bones.

Top Trailers