When the song called for slinkiness, she bent into undulating curves.
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He's just being himself, but with the hotness and the slinkiness, people think he's flirting.
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The slinkiness made it cool. Other than that, the new film is at a slow pace.
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Their typical slinkiness was as conspicuous as an uncloaked ghost floating over the Arc de Triomphe.
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And though her every gesture is pure poetry, slinkiness is the one quality which evades her.
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Mid-tempo rockers dominate an album-long driving rhythm that feeds off slinkiness more than solid pounding.
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Dancing that duet on Friday, Ask la Cour brought to the death figure an effectively sinister slinkiness.
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Omar Kholeif of PopMatters wrote a negative review, stating "Christina isn't afraid to shake, thrust, and hustle, as she professes on 'Glam', an obvious homage to 'Vogue' that isn't nearly as catchy or sultry as it thinks it is." Jordan Richardson from Blogcritics agreed, writing that "The track is a frustrating and uncomfortable ode to Madonna's 'Vogue,' but Aguilera fails in recreating any of the slinkiness of the track she's trying to emulate".
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It is a setting where actors can live and breathe like real people." Desson Howe in the Washington Post wrote that "the man [Ballhaus] who, among many films, shot Rainer Werner Fassbinder's The Marriage of Maria Braun, Martin Scorsese's The Last Temptation of Christ, James L. Brooks's Broadcast News and Mike Nichols's Working Girl, gives human skin a peachy glow, frames a seduction scene (involving back-caressing and parted lips) that's the next best thing to being there and, in what amounts to the visual zenith of the movie, paints a champagne-drinking balcony scene with appropriately moonlit intoxication." Michelle Pfeiffer's performance drew rave reviews from almost every critic. The New York Times called her "as unexpected a choice for this musical bombshell as Jeff Bridges is for Jack, but, like him, she proves to be electrifyingly right... when Ms. Pfeiffer, draped across Jeff Bridges's piano and setting some new standard for cinematic slinkiness, performs in the above- mentioned New Year's Eve sequence with the camera gliding hypnotically around her, she just plain brings down the house.
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" For Rob Sheffield of Rolling Stone, "the conceptual centerpiece [of the record] is the deceptively giddy 'Private Show,' which isn't quite the stripper-in-a-stupor lapdance goof it pretends to be." Andy Gill of The Independent praised the varied usage of her voice on the track, "where the excess sass suggests an attempt to occupy Katy Perry territory." Alex Macpherson of The Guardian commented positively about her vocals, writing that "the zany 'Private Show' is a showcase for Spears to explore first helium- textured cartoon coquettishness, which seems a touch inspired by young Cyndi Lauper, and then an oddly snappy chirrup about working the pole. It's refreshing to hear Spears having fun on record – Private Show contains more goofy character than Spears's past three albums combined – as well as making a song in which her slinkiness is played for laughs rather than sexiness." Maeve McDermott of USA Today picked it as one of the essential tracks on the album, calling it "one of Glory's most explicitly sexy tracks that, to Spears’ credit, could’ve gone terribly wrong.
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