For 105 reviews, this critic has graded:
  • 68% higher than the average critic
  • 2% 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 The Cleaners
Lowest review score: 25 Maze Runner: The Death Cure
Score distribution:
  1. Positive: 68 out of 105
  2. Negative: 2 out of 105
105 movie reviews
    • 96 Metascore
    • 100 Jim Slotek
    As entertained as the audience is throughout, you don’t leave the theatre undisturbed.
    • 88 Metascore
    • 100 Jim Slotek
    Apollo 11 is ultimately the finest look back to the anniversary of this historic event you’ll see this year.
    • 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.
    • 87 Metascore
    • 100 Jim Slotek
    [A] crazily imaginative, hilarious and frenetic animated feature that’s practically a palate-cleanser for comic book earnestness.
    • 85 Metascore
    • 100 Jim Slotek
    It’s hard to imagine a lovelier fly-on-the-wall experience than Nothing Like A Dame – a documentary that basically intrudes on a regular, wickedly-funny get-together of four octogenarians who’ve been friends since they were barely more than precocious schoolgirls.
    • 82 Metascore
    • 91 Jim Slotek
    It’s an inspiring chapter in history, beautifully conveyed on the screen.
    • 65 Metascore
    • 83 Jim Slotek
    What gives Hearts Beat Loud its life is the father-daughter interaction and chemistry between Offerman and Clemons. Their original jam session makes the audience sit up and take notice.
    • 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.
    • 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.
    • 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.
    • 80 Metascore
    • 100 Jim Slotek
    Incredibles 2 is a movie that could have been made redundant by time. Instead, it lightens the mood in a world gone super-serious.
    • 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.
    • 78 Metascore
    • 83 Jim Slotek
    Monos is an immersive, sweaty, almost hallucinatory experience of hormone-driven anarchy.
    • 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.
    • 77 Metascore
    • 83 Jim Slotek
    A hero from an era when we still had heroes, the diminutive Romanian-born, activist and lawyer fairly burns through the screen with passion born of witnessing the worst that humanity can do. And he still tours the world with the impossible dream of ending inhumanity.
    • 76 Metascore
    • 83 Jim Slotek
    Awash in colour and sunlight, the doc The Last Resort is both a modern cultural history of the confounding should-be-paradise that is Miami Beach, and a loving bio of a young, short-lived photographer who froze one of its moments in time.
    • 76 Metascore
    • 75 Jim Slotek
    As an impressionistic portrait of the man, it works, mainly because of the intense vulnerability Dafoe brings to the role.
    • 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.
    • 76 Metascore
    • 91 Jim Slotek
    In Sharkwater Extinction, we also get a glimpse of the sanguine approach Stewart brought to coming face-to-face with the extermination of the creatures he loves.
    • 75 Metascore
    • 58 Jim Slotek
    At more than two hours, Blaze is a meandering tale of genius and futility, tender, but overlong and wallowing, given that we know how it ends.
    • 75 Metascore
    • 75 Jim Slotek
    Capernaum is a movie with a lot of dramatic ideas and plot-points, worthy of a miniseries at least, squeezed into a two-hour sausage of misery.
    • 75 Metascore
    • 83 Jim Slotek
    People expecting plenty of Laurel & Hardy style laughs will be disappointed, obviously, given the movie’s comedy-lions-in-winter theme. But this thoughtful portrait of a long-lasting professional marriage rings touchingly true.
    • 75 Metascore
    • 91 Jim Slotek
    Though Under the Tree falls firmly into satire, it is not a comedy with a lot of laughs. It is more an absurdist tragedy, with cringe-worthy moments.
    • 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.
    • 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.
    • 74 Metascore
    • 83 Jim Slotek
    Colette is ultimately a feminist tale, but never one that wallows in self-pity or seriousness. It is also carried along lightly by a script with a streak of wit.
    • 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.
    • 63 Metascore
    • 83 Jim Slotek
    You can’t come away from Love, Cecil without appreciating how much of Beaton's aesthetic outlived him.
    • 71 Metascore
    • 83 Jim Slotek
    Ralph Breaks the Internet is everything that made Wreck-It Ralph enjoyable, painted on a canvas as big as the Internet itself. The satire is sharp and the pace is relentless, a can’t miss combination for a kid outing.

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