Slant Magazine's Scores

For 779 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 3.6 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Justified: Season 6
Lowest review score: 0 Zero Hour: Season 1
Score distribution:
  1. Mixed: 0 out of 511
  2. Negative: 0 out of 511
511 tv reviews
  1. Kevin Can F**k Himself is a series about rebellion with a format that feels rebellious in only the most superficial sense, an effective visual statement that ultimately doesn’t do much more than very slowly mash together two eminently familiar TV staples, the bland sitcom and the escalating problems faced by a character who breaks bad.
  2. The special is most compelling when the cast is allowed to just revel in their surroundings, sitting together on the Central Perk set, or in Monica and Rachel’s still-mind-bogglingly mammoth West Village apartment, and reminisce like old friends. But we also lamentably get a series of inexplicable celebrity appearances.
  3. Waithe and Ansari ruefully ponder everything from complacency to the inevitable fate of all things. Which is to say that the third season of Master of None is consistent with its predecessors for so easily entwining us in what feels like a free-floating polyphony of life.
  4. Jenkins’s storytelling, for all its surprising boldness (like the back-to-back episodes “Fanny Briggs” and “Indiana Autumn” that run 19 and then 70 minutes, respectively) and the stunning geography the camera captures, sometimes acts like that blinding light, pulling focus toward itself instead of the characters.
  5. This one may be only for Stephen King’s most fanatical followers.
  6. The series feels like it’s simply going through the motions, biding its time until the Jedi and other big names show up. Like countless clone troopers, The Bad Batch fails to distinguish itself.
  7. For all its gore, Yasuke is, at its core, a comforting fairy tale about good versus evil. Though unconcerned with the motivations of megalomaniacs, it conveys the true function of institutional power: to engorge and exert itself.
  8. In the end, the show feels even less ambitious than The Witcher, but like that other Netflix fantasy series, it at least progresses at a fairly brisk pace.
  9. The series regularly introduces suspects and leads—from the short-tempered dad to the shady priest to secret journals—indulging the allure of armchair crime-solving while resisting neat resolutions. But the detective work is merely scaffolding for the show’s beguiling dive into Easttown’s psyche.
  10. Peck’s thesis is too often swaddled in obscuring and derailing discursions.
  11. At its best, Dragon’s Blood lives up to that [opening] shot, concocting vibrant visuals that evoke the game’s rich history, but, for the most part, the show loses itself in inaccessible esoterica. Like war, exile, and scaly metamorphosis, it’s all quite messy.
  12. Invincible recaptures what our current glut of superhero fiction largely loses sight of: the pleasure that superheroes must feel when wielding their powers. Not the sacred satisfaction of helping the downtrodden, but the id-centered thrills of soaring through the sky and inflicting hurt on those deemed deserving. The series consistently makes smart use of music and sound to sweep you up in the bodily sensations of its heroes.
  13. Alexander and West, especially, are gifted climactic arias brimming with heart-rending poignance and righteous clarity. Still, there’s something about It’s a Sin that feels summative, as if this is the work that Davies has been building to since he broke out of his own creative closet over two decades ago. And we’re all the richer for his effort.
  14. As it explores the idiosyncrasies of the Tobins and their environment, however, the series starts to display its own distinct charm.
  15. [There] are some potentially interesting threads to mine, but it’ll take much steadier, subtler hands than the ones that crafted these episodes to convincingly sew them together.
  16. Resident Alien proves capacious in its depiction of Harry’s assimilation, too, as his callousness gradually gives way to empathy, resulting in poignant moments that ground his odyssey in deeply human experience.
  17. It’s admirable how sharply WandaVision deviates from what most viewers might expect from the first Marvel series to hit a streaming service. The fine line that it toes, between the sitcom sendup’s near-cloying cuteness and the unnerving jolts of its interruptions, is eccentric enough to almost make viewers forget that they’re watching a flagship series inheriting the billion-dollar legacy of the Marvel IP.
  18. Except for a curiously brief mention of an abusive childhood and an almost rhetorical question about the nature of evil, Night Stalker dispenses with any deeper study of Ramirez. By doing so, it also misses out on the chance to make a more memorable study of an unforgettable series of crimes.
  19. Drew, Portia, and Elliott’s early-season character arcs end up getting the short shrift once they band together to rescue Dory, but even if Search Party feels more disjointed than ever, it still boasts plenty of its trademark deadpan humor. The eventual wrap-up is more satisfying than any conclusion since season one, providing a sense of narrative and emotional closure.
  20. Between the World and Me doesn’t necessarily offer the most incisive social commentary, but as a document of our contemporary political moment, its force is undeniable.
  21. The series might lack the audacity and boundary-pushing of Tim and Eric Awesome Show, Great Job! or Mister America, but it has enough low-key moments of invention—like the trio taking time out from their training to gamely participate in product testing for a new Snickers bar, or a climatic celebratory dance in newly delivered NASA jumpsuits, soundtracked by Billy Joel—to make you want to see what direction this star-studded lunar vehicle is going to steer toward next.
  22. This shift to a more ensemble-driven, idea-focused format is welcome. Despite a premiere that augurs poorly for its broader narrative arc, Discovery’s third season at least momentarily succeeds in thinking about undiscovered things to come.
  23. Despite its timely trappings, Next works best as an empty-calorie thriller, with plot points that only hold together if you don’t think about them too much.
  24. The series’s skepticism gradually melts away, leaving the final episodes to drag a bit as they focus more on constructing their vision of history rather than examining the characters and their ideals. But when it works, especially at the start, The Good Lord Bird invigorates its material with the rousing trappings of a semi-comedic western that gives it a particularly memorable sort of power.
  25. The Third Day works best when it’s not teasing out this or that secret about Osea and its cagey inhabitants. A strong undercurrent in which characters wrestle with their grief keeps wrenching the story away from its somewhat ambling mystery plot.
  26. The kids sometimes seem wise and mature and accepting beyond their years only to fly off the handle and engage in that distinctly teenage brand of solipsism, where the people around you don’t matter nearly as much as you and your own feelings. They’re able to be pretentious and profound on entirely their own terms, rather than seeming like mouthpieces for middle-aged screenwriters.
  27. At once hyper-local and global in its concerns, I May Destroy You feels eminently contemporary, a necessary artistic distillation of a distinctly modern form of life.
  28. Eclipses even its source material in capturing the all-encompassing dread of Lovecraft’s fiction while at the same time confronting head-on the most problematic aspects of his writing.
  29. Bethan’s occasional voiceover narration is an inconsistent element of the series, but her self-aware commentary is a welcome counterpoint to her infuriatingly self-sabotaging behavior. While having Bethan explain her inner thoughts can easily become a narrative crutch, In My Skin could have benefited more from Bethan’s reflective observations, which give us a deeper understanding of her often impulsive decisions.
  30. The show’s limitations become apparent when it slows down midway through the season, no longer relying on the pure momentum of its plot twists and striking images of environmental devastation.

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