For 76 reviews, this critic has graded:
  • 67% higher than the average critic
  • 1% same as the average critic
  • 32% lower than the average critic
On average, this critic grades 5.5 points higher than other critics. (0-100 point scale)

Jim Slotek's Scores

  • Movies
  • TV
Average review score: 69
Highest review score: 100 The Cleaners
Lowest review score: 25 The Darkest Minds
Score distribution:
  1. Positive: 48 out of 76
  2. Negative: 2 out of 76
76 movie reviews
    • 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.
    • 60 Metascore
    • 67 Jim Slotek
    As empty of purpose and overlong as it is, Hobbs & Shaw is at least a more entertaining machine than the last F&F film.
    • 55 Metascore
    • 67 Jim Slotek
    At times, that slowness and steadiness in writer-director Shelagh McLeod’s tale is worth the wait as solid actors – including Dreyfuss and Graham Greene – do their thing. At others, it’s a source of consternation (particularly when events are moving at what should be a swift pace). But the “sad piano” soundtrack trope in the first act is probably the movie’s biggest hurdle. Stay with it, though.
    • 69 Metascore
    • 83 Jim Slotek
    Though it kind of loses track of its marquee title character mid-movie, Marianne & Leonard: Words of Love is a must-watch for Cohen fans, with copious concert and backstage footage. It is also a snapshot of a time, and of hedonistic artistic idealism.
    • 82 Metascore
    • 91 Jim Slotek
    It’s an inspiring chapter in history, beautifully conveyed on the screen.
    • 69 Metascore
    • 67 Jim Slotek
    Having finally honed the most enjoyably human superhero in the Marvel Universe, it seems “off” to want to ramp him up with tech.
    • 56 Metascore
    • 58 Jim Slotek
    With random elements of Bollywood, Western musicals and unlikely episodic plot contrivances, it is made to please everybody. The result is inoffensive.
    • 49 Metascore
    • 58 Jim Slotek
    A parade of pulled punches, there’s not enough of anything in The Tomorrow Man to make it stick as drama or even a believable romance.
    • 38 Metascore
    • 42 Jim Slotek
    Call it Meh in Black. The pun is, I will admit, unoriginal. But then so is Men in Black: International.
    • 48 Metascore
    • 50 Jim Slotek
    I accept the onscreen explanation that this Godzilla is simply on atomic steroids. It’s the movie that’s fat.
    • 58 Metascore
    • 58 Jim Slotek
    For a film that’s about decades of interstellar aimlessness, Aniara seems hopelessly rushed and superficial.
    • 73 Metascore
    • 83 Jim Slotek
    While Stahelski is unlikely ever to be called upon to make a rom-com or coming-of-age movie, he and Reeves have taken the fluid action of the John Wick series to a point of “how are they going to top that last insane thing they did?” And there’s an imagination at work that’s straight out of Looney Tunes.
    • 45 Metascore
    • 50 Jim Slotek
    Cookson is engaging enough as Joan, mercurial politics and all, but it’s a prosaic tale considering its enormity. And it never really finds its feet as entertainment.
    • 39 Metascore
    • 50 Jim Slotek
    The Intruder is the sort of thriller where the audience is in on pretty much everything from the beginning, and spends the rest of the movie waiting for the dolts onscreen to catch up.
    • 43 Metascore
    • 75 Jim Slotek
    The level of sophistication in the storytelling is impressive, and Isaac’s attempts at Vulcan logic notwithstanding, it’s a movie that wears its heart on its sleeve.
    • 57 Metascore
    • 58 Jim Slotek
    Minghella’s directorial debut is awash with mean girls, pretty boys, seizure-inducing club scenes, headache-inducing auto-tune, and a thin plot that unfolds (and ends) dizzyingly quickly.
    • 68 Metascore
    • 75 Jim Slotek
    Not the most profound movie in Laika’s catalogue. But Missing Link is an entertaining 90 minutes, with glib dialogue that may skew a little old for younger viewers, but with maybe enough realistic physical comedy and terrific stop-motion animation to make up for it.
    • 31 Metascore
    • 50 Jim Slotek
    This Hellboy looks like the real Hellboy, but its heart and soul have gone AWOL.
    • 49 Metascore
    • 50 Jim Slotek
    The “beats” in the story where hearts are supposed to swell are so telegraphed as to render The Best of Enemies emotionally flat. There are no surprises, no change-ups, no setbacks in this collision of sensibilities.
    • 57 Metascore
    • 42 Jim Slotek
    With Pet Sematary, it seems like the remake was ordered, and the filmmakers tried unsuccessfully to come up with a reason. Sometimes less is better too.
    • 62 Metascore
    • 67 Jim Slotek
    The interconnected Irish anthology Lost & Found – about lives that intersect in and around a small-town train station - starts at an interesting, pleasant hum, and pretty much stays there, avoiding high drama. The result is something like an Irish-accented Coronation Street with more locations, fewer confrontations, and beer, which, to my mind, isn’t a bad way to spend time in a theatre.
    • 71 Metascore
    • 75 Jim Slotek
    As standard a documentary as it is in presentation, Blue Note Records: Beyond the Notes is cleverly assembled and edited, making the most of available archival material to flesh out the stories of Thelonious Monk, John Coltrane, Miles Davis, Bud Powell, Art Blakey, Horace Silver et al, and of Alfred Lion and Francis Wolff, the two German-Jewish immigrants who escaped the war and redefined America’s music culture.
    • 55 Metascore
    • 58 Jim Slotek
    Though Korine (Spring Breakers) doesn’t figure out how to make his protagonist breathe (at least smokelessly), he does do a commendable job of making the Florida Keys come alive with sunshine, pastel colours and partying.
    • 81 Metascore
    • 100 Jim Slotek
    Us
    His choice of shots is remarkable, from the mirror house to an institutional hallway chase that goes on forever, to static shots of possible entry points that double down on the suspense. Us is a well shot, artfully chilling movie, one awash in mood but which doesn’t fail to deliver the story.
    • 62 Metascore
    • 67 Jim Slotek
    What keeps the movie from being simply a series of lurid events is the relationship between Mía and Euge, played with an easy grace by Gusmán and Bejo. Their chemistry is so comfortable, you have to remind yourself they aren’t actually sisters.
    • 66 Metascore
    • 83 Jim Slotek
    An odd, sweet, dryly funny, existential and slightly blasphemous buddy-movie, in which an Orthodox cantor, grieving his wife’s death, seeks the help of a pot-smoking college professor to understand what becomes of a corpse.
    • 81 Metascore
    • 75 Jim Slotek
    Though the quirk is ladled on a little thick at times, Woman at War is a surprisingly crowd-pleasing film experience considering its subject matter. In style, Erlingsson evokes the playfulness of Finnish director Aki Kaurismaki, and it seems impossible to film anything in Iceland without being hypnotized by the landscape.
    • 74 Metascore
    • 75 Jim Slotek
    You don’t have to travel very far anywhere in Canada these days to see towns whose economic and social life-signs are so weak, you practically see ghosts yourself. Ghost Town Anthology merely brings that feeling to life – or death.
    • 64 Metascore
    • 67 Jim Slotek
    The only thing that feels new about Captain Marvel is its protagonist’s gender. And as with Superman, I wonder about the dramatic limitations of such a godlike superhero.

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