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 Tea with the Dames
Lowest review score: 25 Maze Runner: The Death Cure
Score distribution:
  1. Positive: 67 out of 104
  2. Negative: 2 out of 104
104 movie reviews
    • 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.
    • 65 Metascore
    • 50 Jim Slotek
    Everything about The Lego Movie 2: The Second Part feels like a corporate obligation fulfilled.
    • 45 Metascore
    • 75 Jim Slotek
    There’s a sense of familiarity to The Prodigy, the latest in a half-century of “evil child” stories going back to The Bad Seed, and including The Exorcist and The Omen. It’s still effective, given the chills we get from a sweet-faced kid saying or doing something horrible in the dark.
    • 57 Metascore
    • 58 Jim Slotek
    There’s a kind of wannabe-hip quality to it all, but by the end, we’ve been so hammered by quirk (and numbed by bloody deaths) that we’ve forgotten what motivated this glib daisy-chain of revenge in the first place.
    • 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.
    • 43 Metascore
    • 50 Jim Slotek
    Unfortunately, the director who came in too early for the superhero craze may now be revisiting it too late. The genre now monopolizes the multiplex, and it seems as if everything about comic books and superpowers and misanthropy has already been said. But Shyamalan still says it, in an unfocused movie with some interesting ideas, and so much expositional dialogue in place of action, it’s sometimes more of a lecture than a thriller.
    • 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.
    • 50 Metascore
    • 25 Jim Slotek
    What can be said about series director Wes Ball is that he has a flair for noisy gun and air battles, pyro, fights, destruction, pursuit and escape. But it signifies nothing if there is no plausible reason for pretty much anything that happens.
    • 55 Metascore
    • 75 Jim Slotek
    A big dumb acid-trip of a super-hero movie, Aquaman is relentless, noisy, entertaining nonsense – particularly in 3D IMAX - as overlong as any of them, but not boring, and as I say, at times trippy.
    • 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.
    • 87 Metascore
    • 100 Jim Slotek
    [A] crazily imaginative, hilarious and frenetic animated feature that’s practically a palate-cleanser for comic book earnestness.
    • 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.
    • 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.
    • 70 Metascore
    • 100 Jim Slotek
    The Cleaners is a doc of remarkable access and a feast for thought.
    • 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.
    • 69 Metascore
    • 91 Jim Slotek
    Green Book is not the deepest depiction of racism, but it is a funny and heartwarming depiction of a friendship, forged in a car.
    • 52 Metascore
    • 50 Jim Slotek
    Grindelwald is a movie that seems to want to recreate the Potter universe and does it in the most plodding way, crowding it with characters and plot points, many of which go nowhere.
    • 58 Metascore
    • 58 Jim Slotek
    As a first-time filmmaker, Barinholtz is on training wheels, shooting almost entirely in closed-space interior, the better to concentrate on his words. To that extent, The Oath is (at first anyway) a scarily realistic depiction of the argument feedback loop that seems to be ripping society apart. But the denouement allows him to slip away without a realistic premise for how one would leave that loop.
    • 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.
    • 67 Metascore
    • 83 Jim Slotek
    As with Carpenter, build-up is the thing (Michael is mostly talked-about for the first half-hour), and producers Blumhouse’s trademark jump-scares are a nice stylistic fit.
    • 55 Metascore
    • 75 Jim Slotek
    What distinguishes Knuckleball from other thrillers involving children is the seeming reality of the peril portrayed.
    • 37 Metascore
    • 50 Jim Slotek
    The good in the movie is overwhelmed by its by-the-numbers approach to its story. There’s not enough in Bigger to make a fan out of non-fans of body building, and there’s enough wrong to turn off the real fans.
    • 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.
    • 63 Metascore
    • 67 Jim Slotek
    Considering the (pardon the expression) glacial pace of much of the lead-up, Hold the Dark’s eruption into massacre-level violence is jarring. Once it takes hold, it is relentless and grueling.
    • 56 Metascore
    • 67 Jim Slotek
    Assassination Nation may be empty calories as social satire, but it’s a dark, wry, of-the-moment story of run-amok panic that will entertain horror fans.
    • 48 Metascore
    • 67 Jim Slotek
    Director/co-writer Shane Black, indulging his tendency towards glibness, brings an outright comic touch that turns the latest interaction between humans and these dreads-wearing extraterrestrial big-game hunters, into something of a bloody romp – as inappropriate as that sounds (and often is).
    • 46 Metascore
    • 42 Jim Slotek
    I will give The Nun this, it has an utterly outrageous ending that pretty much brought the house down at the advance screening I attended.
    • 63 Metascore
    • 83 Jim Slotek
    The Last Suit has its narrative flaws and leaps of faith. But the sheer force of its central character’s untethered voyage of discovery – and the acting behind it - overcomes all.
    • 67 Metascore
    • 67 Jim Slotek
    A kind of gothic, ghostly mash-up of Downton Abbey and Grey Gardens, The Little Stranger is as mannered, tattered and morose as that marriage of premises suggests.

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