The Playlist's Scores

  • Movies
For 2,225 reviews, this publication has graded:
  • 56% higher than the average critic
  • 3% same as the average critic
  • 41% lower than the average critic
On average, this publication grades 1.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Crime After Crime
Lowest review score: 0 The Boy Next Door
Score distribution:
2225 movie reviews
  1. While often hamstrung by genre conventions, particularly in the picture’s first half, Tom of Finland is a passable entry into the LGBT film canon and largely successful in selling the subcultural relevance of the eponymous artist’s beefcake drawings.
  2. This is ninety minutes of comic actors having a genial go at middle-of-the-road material. It doesn’t have any guts, but that doesn’t mean it isn’t funny.
  3. The pathos of this situation is clear, the stakes, which obviously involve genocide, justice and actual Nazis, are sky high and Plummer is completely extraordinary. So why on earth isn't Remember a better film?
  4. Lacking real zest or fun, it’s a middling effort, if one with ample heart and good intentions, that happens to star two actors who can rise to the occasion when necessary. Working together, it’s a shame that they serve both as this frustratingly mediocre comedy’s most reliable pleasure and most consistent disappointment.
  5. The tension really is beautifully ramped up in these early scenes and gets an audience well prepped to watch carnage unfold around people you've truly come to care about. Then, when the thing goes off, it's not with a bang but with something more like a a whimper.
    • 42 Metascore
    • 58 Critic Score
    While Corsicato treats his subject extremely gently – there’s barely a hint of criticism of Schnabel and interviewees tout how controversial his work is without explaining why – his almost idyllic portrayal of Schnabel at work and play nevertheless makes for a largely seductive and engaging experience. But the lack of context often derails the entertaining film.
  6. Baena’s debut just never really comes to life and unfortunately lacks the bite the best of the genre has to offer.
  7. Yes, it’s funny and charming and sometimes deeply amusing. But at the same time it lacks any kind of emotional resonance.
  8. Billy Lynn has its moments, but its critical and unexpected folly is that the cutting-edge technology diminishes the picture emotionally, its ungainly look trivializes the drama and indulges it with an undesirable air of superficiality.
  9. There is no shading, there is no ambiguity, and while there are observations and stilted epithets aplenty, there is precious little wisdom.
  10. Fleck and Boden certainly have strong filmmaking smarts. They understand restraint, have terrific observational eyes, and know how to coax honest performances out of actors. So it’s perhaps a shame that Mississippi Grind is ultimately too underwhelming to stake with any confidence.
  11. The more dramatic moments feel unanchored to the more farcical, and the humor ranges erratically from scatological to tender/heartwarming and back to cheap shots at slightly uncomfortable stereotypes. "Uneven" would be the kind way of putting it, but "messy" is probably nearer to the truth.
    • 40 Metascore
    • 58 Critic Score
    Despite having a lead that can fend for herself, and a fun ensemble of co-stars, In the Blood runs dry.
  12. Cohen’s willingness to do, or say, anything in order to elicit a chuckle at least somewhat salvages The Brothers Grimsby — right up to a riotously nasty climactic gag shoved down the throat of Donald Trump.
  13. All in all, Earth to Echo is passable family entertainment, neither unforgettable nor particularly bad.
  14. Chris Farley deserves a film that can see him for his gifts and his flaws. So, while I Am Chris Farley is an interesting portrait of a comedian, here’s to holding out for something more.
  15. One should applaud Diesel and Caruso for breathing unexpected energy into what could’ve been another lame, uninspired continuation. It’s wild, loud and totally out of control, and that’s periodically a pretty good thing.
  16. When Lotz is not onscreen, Stephens is miserable company. But James does reveal a deep fascination with the robotics that suggests the threadbare story was a chance for him to explore the very real advances in artificial intelligence.
  17. If nothing else, Reybaud’s debut flaunts his knack for casting, particularly with the lead performance by Pascal Cervo.
  18. Song One is well intentioned, well-shot and has its musical heart in the right place, but it often feels incredibly familiar, and the more contrived, credulity-straining moments don’t help.
    • 59 Metascore
    • 58 Critic Score
    Not every joke lands and it’s not as consistently funny as it could have been, but at its best, The Final Girls evokes the offbeat silliness of David Wain’s parody films like “Wet Hot American Summer” and “They Came Together."
  19. As compelling as R100 is in spurts, it's ultimately an exercise in excessiveness that only a niche audience will be able to fully stomach.
  20. Bad Milo! is ultimately a fairly pedestrian film, but in those moments where Milo takes action, if you squint, there’s just a little bit of that old-fashioned movie magic.
  21. It's not the most complex WWII movie you'll see, but there's no denying the blunt intensity of Fury, and even if it doesn't sustain, Ayer commits to staring straight into hellish eye of war and bringing audiences along to witness every gruesome detail.
    • 53 Metascore
    • 58 Critic Score
    De Palma’s heart ultimately doesn’t feel fully in this film. What Passion is lacking is, ironically, some passion.
  22. As a mainstream sci-fi film, this enjoyable, occasionally poignant effort too often feels messy in the wrong ways.
  23. McCarthy has a great knack for vicious verbiage, and in combination with her supreme physical control there's pleasure in seeing Darnell tear an opponent to shreds, even (or especially) when she's in the wrong.
  24. There are jokes that land, and every time Kathryn Hahn steps on screen the film threatens to tilt on its axis and point toward a truer north.
  25. While the politics and film as a whole are not entirely successful, there is much to admire in “Wolf Creek 2,” not the least if which is director Greg McLean’s chutzpah. He is a visually adept filmmaker who makes fine use of the broad canvas that is the outback.
  26. Never quite fun enough for kids or teens, but also unlikely to appeal to loyal fans, Power Rangers feels like a film that’s not quite finished morphing into its true form.

Top Trailers