[Latimore] has a magnetic screen presence mixed with a down-to-Earth directness. And while he's got swagger for days, he's just as compelling when his character is quietly contemplating his next move.
The film lives and dies by Latimore's performance, which is quiet and ever-shifting.
Dillard's feature debut squanders its high concept ... and serves up a low-rent, Nickelodeon-lite version of that story, blowing his chance with corny acting, paint-by-numbers plotting, and a dippy score.
A tight tale well-told, with an appealing hero, a direct route to satisfaction, and the ever-present sense that the merest turn toward stylistic extravagance or adventure frippery would sink it.
Dillard's not interested in the Zing! Pow! Bam! Sleight is quiet, almost naturalistic, even when Bo is stopping bullets with his bare hand.
Sleight succeeds with its creation of a modern quasi-superhero in Bo and the launching of an electric new leading man in Latimore.
Like Moonlight and Get Out, this is a non-traditional, multi-genre film with impressive cinematography, a smart screenplay with some creative twists - and brilliant performances from the lead players.
It ... becomes a weirdly expository melodrama.
An unlikely superhero origin story, executed with the style, themes and budget of independent cinema.