Slant Magazine's Scores

For 767 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 3.3 points lower than other critics. (0-100 point scale)
Average TV Show review score: 63
Highest review score: 100 Better Call Saul: Season 2
Lowest review score: 0 Tim and Eric Awesome Show, Great Job!: Season 1
Score distribution:
  1. Mixed: 0 out of 503
  2. Negative: 0 out of 503
503 tv reviews
  1. 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.
  2. As it explores the idiosyncrasies of the Tobins and their environment, however, the series starts to display its own distinct charm.
  3. [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.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. 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.
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. A newer element of our surveillance state, social media, is mentioned obligatorily but is barely explored. The Capture sucks the juice out of its pop-cultural reference points, failing to mine our current nightmares on its own terms.
  20. At one point in the series, a music executive condescendingly describes Bess’s music as “darling.” While that’s intended as a dubious insult, it captures the twee, navel-gazing tone of Little Voice.
  21. The series is gory and dour with a bone-deep cynicism, but it’s also optimistic in its own small way, an origin story that chronicles how its characters find a means to fight rather than serving as dejected, disgusted observers.
  22. This season rivals its predecessors in its intoxicating blend of bleak cynicism and irreverent comedy, but embraces a more exaggerated, madcap sensibility.
  23. By the end, the story’s rush of exposition can be dizzying, but the pieces fall into place in ways that aren’t entirely unbelievable. And the details, remixed from so many other mystery stories by Coben and others, will make sense in almost any language.
  24. The episodic sitcom rhythms allow for an easier access point to the narrative about identity and prejudice—both internal and external. But it seems frustratingly hesitant to assert itself as a mainstream teen dramedy with an openly gay protagonist, returning to the starting line of Love, Simon rather than building forward from it.
  25. The series isn’t without moments of cleverness, but even the jokes that land mostly just emphasize how complacent the remainder of Crossing Swords is to coast on its crassness.
  26. It took The Office a while to lose its teeth and become a perpetual meme and cuddle-fest, while Space Force goes soft within just a few episodes before limping to an embarrassingly inspirational family reunion finale.
  27. Alternately riotous and poignant.
  28. The limited series is a carnival of horrors weighed down by moralizing, hysteria, and cross-associations.
  29. Mrs. America, the creation of writer-producer Dahvi Waller, deftly reckons with decades of squandered political potential, both in its depiction of the ‘70s and in the parallels it draws with the present.
  30. As themes go, “life goes on” would surely rank as one of the least profound, but Tales from the Loop continues to offer details that resonate.

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