Slant Magazine's Scores

For 897 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 4.1 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 590
  2. Negative: 0 out of 590
590 tv reviews
  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. This lack of character development renders the show’s big, dramatic confrontations inert.
  6. 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.
  7. 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.
  8. 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.
  9. The series deftly tackles timely issues with breezy reckonings, interrogating them—and laughing at them—but avoiding ham-fisted didacticism.
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. 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.
    • tbd Metascore
    • 50 Critic Score
    Filoni and company are clearly capable of enriching concepts and characters that have been part of our popular culture for 45 years. But at its best, The Bad Batch’s second season is a frustrating reinforcement of the previous season’s problems.
  15. The dazzling depiction of the event ["conjunction of the spheres"] conveys its unfathomable scale and implications, its profound reorientation of space and time. But both the upheaval and Blood Origin itself end shortly after they begin. Having, at last, built up a head of steam, the series ends in a fizzle.
  16. The side-quest to find her mother never really turns up anything especially revelatory and only adds to the sense that Kindred is spinning its wheels.
  17. Three Pines boasts the mysterious murders, puzzling clues, and various other requisite tropes of a compelling detective tale, flat dialogue and wooden acting mean that Gamache is unlikely to be joining Marple, Holmes, and Benoit Blanc in the pantheon of on-screen sleuths.
    • 71 Metascore
    • 63 Critic Score
    Unfortunately, Shannon and Chastain are burdened with a script that’s marred by uneven pacing and jarring leaps in time. ... It’s a testament to the immersive and deeply felt performances of its two leads that George & Tammy manages to bring its titular iconic figures to life.
    • 77 Metascore
    • 50 Critic Score
    It’s disappointing to see how Exodus lines up the first two season’s soft targets for von Trier all over again and, in the process, enables not his worst and often most existing tendencies but rather his most boring.
  18. Ahead of the predictable and unsatisfying cliffhanger, the series slows to a crawl, and there’s an inescapable sense that it’s built every inch of its reveal-driven plotting around a mystery that can’t even manage to be very mysterious.
  19. It’s a role and a series that has clearly been tailor-made for Stallone, playing to his particular brand of mealy-mouthed charisma. ... It also doesn’t have anywhere near the humble, world-wearied power of Stallone’s work in the Creed films, but with his slick one-liners and gruff deadpan, he manages to carry the entire series on the back of his imposing frame.
  20. The series puts a spiritual spin on the police procedural, carrying out a compelling investigation but ultimately struggling to uncover anything profound.
    • 65 Metascore
    • 63 Critic Score
    This season is both more simplistic and less coherent, notably when dealing with Charles. ... Where the series continues to succeed is in its big-picture study of the crown’s relationship to national tides.
  21. The connections between its diffuse narrative strands remain murky for much of its running time, making the proceedings feel scattered, unfocused, and incoherent. Few things, however, are clearer than love and revenge—and the relationship between Cornelia and Eli achieves far greater acuity than the developments that surround it.

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