For 104 reviews, this critic has graded:
  • 69% higher than the average critic
  • 1% same as the average critic
  • 30% lower than the average critic
On average, this critic grades 6 points higher than other critics. (0-100 point scale)

Jim Slotek's Scores

  • Movies
  • TV
Average review score: 70
Highest review score: 100 Pain and Glory
Lowest review score: 25 The Darkest Minds
Score distribution:
  1. Positive: 67 out of 104
  2. Negative: 2 out of 104
104 movie reviews
    • 64 Metascore
    • 91 Jim Slotek
    While I already miss the experience of seeing these films in a theatre, Vivarium does evoke TV precedents, most notably Twilight Zone in the cleanness of its premise and the parsing out of dark details on a need-to-know basis.
    • 59 Metascore
    • 67 Jim Slotek
    The inexorable pace of this marital disintegration is masterfully dictated by its leads, Nighy (whose granite expression remains fairly unchanged whether unhappy with Grace or newly-alive with his new love) and Bening (without whose energy there would be no movie).
    • 68 Metascore
    • 67 Jim Slotek
    Let it be known that The Way Back – in which Ben Affleck plays a drunk who once walked away from basketball glory and is offered a chance at redemption when his old coach has a heart attack – is possibly the most melancholy sports movie ever made.
    • 57 Metascore
    • 42 Jim Slotek
    I’m not sure why director Ricky Tollman would take a real story that practically writes itself and write something else. It’s hard to follow what he’s trying to say with Run This Town, but it’s said awkwardly, without much regard to reality. The cast are all engaging and terrifically talented. But the story they’re given is a narrative straitjacket that even the best actors couldn’t save.
    • 61 Metascore
    • 75 Jim Slotek
    Despite evoking a lot of previous pop-cultural touchstones (including Harry Potter, Shrek and even Weekend at Bernie’s), the nerd-minded, fast-moving Onward has wit, eye-catching anachronisms and imaginative actio
    • 22 Metascore
    • 42 Jim Slotek
    Suffice to say, this is all getting explained when scary things could actually be happening. My “FUN-tasy” throughout was that the credits would roll.
    • 64 Metascore
    • 67 Jim Slotek
    At an hour and a half, Gretel and Hansel shouldn’t be a slog. But at a certain point in the last act, it definitely labours for its chills - and all that feasting eventually leaves the audience more hungry than scared.
    • 51 Metascore
    • 58 Jim Slotek
    Ritchie is looking back to the Lock, Stock and Two Smoking Barrels and RocknRolla roots as if nothing has changed since. The Gentlemen is simply those movies with extra everything except inspiration. And sometimes more is less.
    • 48 Metascore
    • 42 Jim Slotek
    A dull piece of off-season horror flotsam, Underwater suffers from two kinds of genetic drift. It is the umpteenth movie about messing with the ocean bottom (DeepStar Six, Leviathan, The Meg, etc.), where, apparently, there be dragons rather than blind albino shrimp...It is also the latest, and most blatant, of God-knows-how-many Alien rip-offs that have taken up space in the multiplex in one critic’s lifetime.
    • 51 Metascore
    • 75 Jim Slotek
    The pieces are there for a profound piece of work, and The Song of Names’ high points are worth the occasional narrative slog.
    • 68 Metascore
    • 67 Jim Slotek
    As stark a manifesto against rush-to-judgment as his story is, one can’t help but think how much worse Richard Jewell’s ordeal would have been in a social media-driven world.
    • 80 Metascore
    • 100 Jim Slotek
    There are some very funny lines in A Beautiful Day in the Neighborhood, much of it predicated on the outwardly ludicrous meeting of profound cynicism and hope. Lloyd’s character arc is well handled by Rhys (The Americans), and the denouement is one only a Scrooge could call humbug.
    • 51 Metascore
    • 58 Jim Slotek
    There’s a lot of dubious explaining in the last act, a sure sign that a movie hasn’t done a very good job explaining itself.
    • 55 Metascore
    • 58 Jim Slotek
    A preposterous mess of romance-with-secrets, generations-old closet skeletons and revenge, The Good Liar is the kind of fragrant dramatic cheese that Sidney Sheldon would have squeezed an ‘80s network mini-series out of. But the never-before-paired screen couple of Ian McKellen and Helen Mirren consume this cheese like so much scenery. There’s nothing like actors with gravitas slumming, all bemused smiles and droll delivery, even as the material descends clunkily into unintentional comedy.
    • 81 Metascore
    • 83 Jim Slotek
    It’s on the track where it finds traction. The events of the various races, reflected on the faces of characters whose lives revolve around the outcome, tell a story all by themselves.
    • 47 Metascore
    • 67 Jim Slotek
    On the sliding scale of war movies, Emmerich’s Midway is obviously no prestige film like The Hurt Locker or Saving Private Ryan. It belongs more to the school of the original Midway, with Tora! Tora! Tora! as its exemplar. Tell the story of a battle, offer up some sketched-out characters, played with aplomb, add a dash of soap opera and fire when ready. On that scale, for what it’s worth, Midway is a much more solid piece of entertainment than the Pearl Harbor directed by Emmerich’s fellow master-of-disaster Michael Bay.
    • 59 Metascore
    • 58 Jim Slotek
    In some reality where it came without baggage – and where it didn’t have to be a bloated two-and-a-half hours to accommodate its relationship to a classic – Doctor Sleep could stand on its own as a decently stylish popcorn thriller.
    • 54 Metascore
    • 75 Jim Slotek
    A decent, fast-moving nod to the spirit that originally made the Terminator movies a permanent part of pop culture.
    • 87 Metascore
    • 100 Jim Slotek
    In evocative and understatedly emotional scenes, carried out with a mature grace by Banderas, we come to a connection of how we get where we are, and what holds us back from what we dream of becoming.
    • 96 Metascore
    • 100 Jim Slotek
    As entertained as the audience is throughout, you don’t leave the theatre undisturbed.
    • 55 Metascore
    • 75 Jim Slotek
    There isn’t a moment in Zombieland: Double Tap that takes itself the least bit seriously. The gags often seem made up as it goes along, but they have a high “hit” ratio and the looseness of the whole affair means there’s no pressure to impress.
    • 46 Metascore
    • 58 Jim Slotek
    This is one of those animated features that veers way towards adult references for the parents in the room, while creating occasional mayhem in the pursuit of short-attention-span theatre. The latter fails.
    • 77 Metascore
    • 100 Jim Slotek
    It occurs at a certain point that Ronstadt was kind of the Meryl Streep of pop music, capable of taking on any vocal role and making it sound like she was born to it.
    • 78 Metascore
    • 83 Jim Slotek
    Monos is an immersive, sweaty, almost hallucinatory experience of hormone-driven anarchy.
    • 66 Metascore
    • 83 Jim Slotek
    My feeling is that Rupert Goold’s Judy is as good as it needs to be to stand as a framework for Zellweger’s incandescent performance. Parts of the plot are A-to-B, a lot is unsubtle and a climactic scene involving her most famous song is pure-Hollywood schmaltz. But the worst of Judy is worth the price of admission for the one bravura performance.
    • 60 Metascore
    • 83 Jim Slotek
    Motherless Brooklyn is the sort of risk-taking effort that deserves kudos whether it works or not. As it happens, this lengthy film-noir labour of love by writer, director and star Edward Norton, is well worth the ride.
    • 58 Metascore
    • 58 Jim Slotek
    In between the long patches there are some scary turns, though with diminishing returns, and director Andy Muschietti and screenwriter Gary Dauberman frequently turn to fears first cousin, humour, by wise-cracking through their peril. This too gets tired. But almost anything would after nearly three hours.
    • 76 Metascore
    • 83 Jim Slotek
    An emotionally moving thriller that smoothly negotiates the horrors of the supernatural and real world evil with haunting imagery and tension.
    • 66 Metascore
    • 75 Jim Slotek
    Like the characters it portrays, Mine 9 simply does its job as best it can with the resources at hand.
    • 43 Metascore
    • 58 Jim Slotek
    As it is, The Art of Racing in the Rain won’t disappoint anyone with basic expectations of a dog movie. It’s full of aww, if not wonder.

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