For 144 reviews, this critic has graded:
  • 72% higher than the average critic
  • 3% same as the average critic
  • 25% lower than the average critic
On average, this critic grades 6.4 points higher than other critics. (0-100 point scale)

Jim Slotek's Scores

  • Movies
  • TV
Average review score: 71
Highest review score: 100 Apollo 11
Lowest review score: 25 The Darkest Minds
Score distribution:
  1. Negative: 2 out of 144
144 movie reviews
    • 53 Metascore
    • 67 Jim Slotek
    It’s a lesser episode to be sure. But Wilson and Farmiga are both so accomplished and comfortable in their roles at this point, that they distract us from the movie’s flaws.
    • 59 Metascore
    • 83 Jim Slotek
    Despite its winks at its source material, Cruella is very much a fun, stand-alone movie that lets two formidable actresses fly while everyone else stands back.
    • 63 Metascore
    • 75 Jim Slotek
    Canadians already made the definitive young-woman-turned-werewolf movie, with 2000’s Ginger Snaps, which is a bar to clear if Bloodthirsty is to make an impression on veteran horror fans. But the pop music angle, an LGBT angle, and a studio Svengali who lives in a mansion in the woods, gives Bloodthirsty some points for fresh twists.
    • 72 Metascore
    • 83 Jim Slotek
    Hovering over Together Together is the expectation that two people who enjoy each other’s company as much as Matt and Anna do will eventually end up together. Beckwith plays with this trope nicely.
    • 61 Metascore
    • 75 Jim Slotek
    This story about stories is best absorbed if you’re not in a hurry. The Oak Room is not long (88 minutes), but the words demand attention.
    • 41 Metascore
    • 67 Jim Slotek
    Mostly, this is a look at how solid actors can carry a nuts-and-bolts, dramatically undemanding action film. Jordan is physically imposing, and handles the action choreography with style.
    • 69 Metascore
    • 67 Jim Slotek
    The surprisingly conventional Tiny Tim – King For A Day mixes archival photos and film, and animation, to present an image of the man before and after he hit the pinnacle of pop culture by getting married to first wife Miss Vicki live on The Tonight Show.
    • 59 Metascore
    • 75 Jim Slotek
    While stopping short of camp, and giving the movie all the visual aplomb it deserves, Godzilla vs. Kong isn’t ashamed of being light entertainment writ large. The dramatics are few, the quips just about right, and the booms are bombastic.
    • 70 Metascore
    • 83 Jim Slotek
    Sims-Fewer clearly follows her vision, and paints an unsettling picture with sure strokes. I look forward to more.
    • 46 Metascore
    • 50 Jim Slotek
    A reality-based hillbilly thriller that can’t decide what flavour of noir to serve up, Above Suspicion is one of those curious failures that the current appetite for home streaming often rescues from theatrical limbo.
    • 68 Metascore
    • 75 Jim Slotek
    Sorting out what’s true and what’s not becomes so convoluted that the abrupt ending seems a case of either running out of money or ideas. Still, Come True is a movie that you’ll likely remember for the images it burns in the brain, more than for its story.
    • 83 Metascore
    • 100 Jim Slotek
    A day in the life of Zeytin is, for the most part, an agreeable experience that doubles as a dog’s-eye-view of humans.
    • 53 Metascore
    • 67 Jim Slotek
    Though it’s a movie with an identity crisis, Rahim’s magnetic performance carries enough of The Mauritanian to make it a worthwhile watch.
    • 82 Metascore
    • 91 Jim Slotek
    A masterpiece of squeamishly uneasy, nightmarish mood-making, the demonic-possession film, Sator is partly in the vein of The Blair Witch Project – though much more sure-handed and stylistically sophisticated.
    • 64 Metascore
    • 67 Jim Slotek
    It’s an unoriginal, budget-conscious and hardly brain-taxing race against time. But that doesn’t negate its entertainment value or its often heart-pounding pace.
    • tbd Metascore
    • 75 Jim Slotek
    Looking past its nostalgia and unhappy ending, More Than Miyagi: The Pat Morita Story is kind of a time capsule of an era of North American showbiz, and the compromises and struggles that faced people because of their faces.
    • 67 Metascore
    • 75 Jim Slotek
    With winks at the cheesiness of a previous generation’s entertainment and a razzberry directed at contemporary blockbusters with a thousand times its minuscule budget, Psycho Goreman is an entertaining exercise in low-tech sci-fi camp.
    • 66 Metascore
    • 75 Jim Slotek
    Effectively the Ripley of this flight, Moretz makes a good case – again - for her ability to work an action film. Shadow in the Cloud is a fun ride through enemy territory, both human and demonic, and Moretz wields her weaponry with aplomb.
    • 80 Metascore
    • 83 Jim Slotek
    Mikkelsen’s affecting performance is backed by an exceptional ensemble cast, who bring to life the fears and emotional scars that come with age, and the part alcohol can play in it, for better or worse.
    • 47 Metascore
    • 50 Jim Slotek
    Dahl’s work demands darkness and an edge, but instead there’s a bright Hollywood-y antic sense to Zemeckis’s The Witches, and the overused and unconvincing FX only serve to trivialize what we’re seeing.
    • 79 Metascore
    • 83 Jim Slotek
    Intriguingly weird, and only loosely tethered to its own reality, Lawrence Michael Levine’s Black Bear is two movies in one - both on the theme of creativity-squeezed-from-pain, and both offering Aubrey Plaza the acting turn of her career.
    • 79 Metascore
    • 83 Jim Slotek
    The Belarus-born Loznitsa, now a Ukrainian citizen, is not a follower of the “brevity is the soul of wit” school of dark humour. Each vignette is almost too long to earn that descriptor, almost as if he doesn’t want to let go of a scene until the viewer is utterly uncomfortable. But that churn builds on itself, taking us by the last act to a dark and cynical place.
    • tbd Metascore
    • 50 Jim Slotek
    I get why people want to make movies about comedy that make you cry. But making you laugh first – I mean, really laugh – would make for a potent combination indeed.
    • 40 Metascore
    • 50 Jim Slotek
    Awash in good intentions and weighed down by its grim premise, Come Away is a fantasy that fails to inspire, despite its star power (including David Oyelowo and Angelina Jolie) and occasionally clever flourishes.
    • 63 Metascore
    • 75 Jim Slotek
    Let Him Go doesn’t reinvent the wheel. It is a genre thriller, where the good guys face impossible odds against cartoonish bad guys. But it plays out with style, violence that doesn’t strain credulity, and a consequence for every action taken.
    • 58 Metascore
    • 75 Jim Slotek
    The horror film Come Play, the feature debut of writer/director Jacob Chase, is in many ways derivative. But it’s derivative of some pretty effective predecessors.
    • 68 Metascore
    • 75 Jim Slotek
    So, when all is said and done, this is definitely not Larry Charles’ Borat. It put me to mind more of the later seasons of All in the Family, when Archie Bunker’s bigotry inevitably softened.
    • 76 Metascore
    • 83 Jim Slotek
    Given The Trial of the Chicago 7’s snapshot of an era of an almost hopelessly divided America, and Kafka-esque and monstrous misuse of power by a bullying President, the timing for its release couldn’t be better.
    • 72 Metascore
    • 75 Jim Slotek
    There may be a lot of questions unanswered in Possessor, but there’s feverish imagination at work.

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