For 93 reviews, this critic has graded:
  • 69% higher than the average critic
  • 2% same as the average critic
  • 29% lower than the average critic
On average, this critic grades 6.9 points higher than other critics. (0-100 point scale)

Jim Slotek's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Linda Ronstadt: The Sound of My Voice
Lowest review score: 25 The Darkest Minds
Score distribution:
  1. Positive: 60 out of 93
  2. Negative: 2 out of 93
93 movie reviews
    • 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.
    • 88 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.
    • 56 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.
    • 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.
    • 61 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.

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