The Playlist's Scores

  • Movies
For 2,123 reviews, this publication has graded:
  • 56% higher than the average critic
  • 2% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 1.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Arabian Nights: Volume 1, The Restless One
Lowest review score: 0 The Boy Next Door
Score distribution:
2123 movie reviews
  1. Everything, Everything is appealing in its own way. It’s good-hearted, if poorly conceived, but perhaps most crucially, Everything, Everything leaves you with very little worth remembering.
  2. 360
    If the film had not been afraid to go a little darker (like its sexually frank opening), dig a little deeper, and develop its characters beyond their stereotypes, it would have been a much stronger effort.
  3. While there's a lot of fun to be had, Furious 6 doesn't quite hit the insane heights of "Fast Five," but we're sure it'll delight franchise fans who mostly want to see bald people butt heads, and moving vehicles crash into other moving vehicles.
  4. By sex line standards, For a Good Time, Call... clearly succeeds –- it starts off slow, includes plenty of dirty talk, then gives us the happy ending we came for –- but our needs are a little bit greater when it comes to good films.
  5. Well shot and well made, Kill Your Darlings is a very competently constructed effort on a whole, but there’s an emptiness and familiarity at its core that it cannot transcend.
  6. It's enjoyable and toe-tapping for what it is, but it's also extremely lightweight stuff.
  7. Cacophonous, gratuitous, and peppered with absolutely outstanding action sequences, Furious 7 finds the franchise at an unwanted crossroads, but it makes such a play for the diehard fans that it leaves everyone else at somewhat of a loss.
    • 56 Metascore
    • 58 Critic Score
    Ritchie manages a promising first act. But at the whim of the action movie formula, and ostensibly nothing else, priorities shift as the story carries forward. When we’re asked later on to attend to escalating stakes and a dimming tone, we’re simply left wondering what happened to all the fun.
  8. 17 Girls is mostly fueled by grrl-power, from it's nineties-era femme-centric alt-rock, to it's marginalization of boys as sperm-deposit devices, unfair but a natural corrective to years of women onscreen as purely sexual objects.
  9. The whole thing is overstuffed with enough narrative threads that it should require a feature film-sized outing to answer them all, but Entouragemerrily skips over whole chunks of vital narrative in order to give it a glossy Hollywood ending, the kind that would seem forced, well, even in the movies.
    • 73 Metascore
    • 58 Critic Score
    By the Time It Gets Dark jumps at first into an examination of Thailand’s repressed history of political violence and dictatorial control. But that initial pencil sketch of a thesis is soon shuffled away in favor of several other less-interesting story threads which add up to much less than the sum of their parts.
  10. Though not a poor effort per se -- David Chase's Not Fade Away does authentically captures the heart and soul of the music of the era and the intoxicating/naive dream of making it big -- the picture isn't exactly a remarkable one either.
  11. If the film’s climax comes off as thematically clear — an outgrowth of the tension heretofore developed — it otherwise leaves an aftertaste of slightness.
  12. This is a terrific cast, appearing in scenes that have been beautifully framed and lit. Why weren’t they given anything memorable to do and say?
  13. Perversely episodic, strangely empty, and unfolding in a series of beautifully composed but static wide shots (giving us the unusual experience of literally yearning for a close-up), the film is a test of patience.
  14. As visually arresting as Kornél Mundruczó’s latest film Jupiter’s Moon undoubtedly is, it remains too intellectually imprisoned within its own allegorical confines to make a truly positive impact.
  15. When Reinhardt’s fingers aren’t dancing across guitar strings, it has all the vitality of an educational film shown by a substitute teacher. It comes alive in those fleeting moments, but they are too infrequent to keep audiences engaged.
  16. Crown Heights works best when the political and the personal merge with the insidious nature of corruption and systemic cultural, societal and economic oppression.
  17. This film has all of the pieces to be a great and thorough documentary (a cult turned popular subject, new and old footage, interviews with admirers, friends and colleagues, authorization by the lady herself), but misses the mark.
  18. It is beautifully shot, well-acted by all (especially by Waldstätten, Strauss, and Simonischek), and filled with strong dialogue and a real sense of place. But despite the cast’s best efforts, it is never moving, and rarely surprising.
  19. If women's pictures are truly dying (in this personal reviewer's opinion, they are not if you know where to look) it's movies like Love Is In The Air that are its executioner.
  20. A weird, uneven mixed bag, there’s much about Mojave that’s paradoxically maddening and doesn’t really add up. As the movie plot becomes less interesting and more straight-forward — like a slasher movie with the evil antagonist character slowly closing in on the hero — it becomes funnier and more purely enjoyable.
  21. While The Town That Dreaded Sundown is ambitious and supremely weird, it fails to cohere into something more resonant.
    • 68 Metascore
    • 58 Critic Score
    When even momentary flourishes of action this good remind us how poorly filmed and choreographed most modern action films are, it is hard not to recommend Atomic Blonde on that basis alone.
  22. A film that, while often beautiful to look at, feels oddly bloodless in execution.
  23. Shot in pedestrian fashion, it is set in an intriguing and entirely foreign milieu, but the film ends up just too inscrutable and oblique for us to really engage with it, or its often incomprehensibly motivated characters.
  24. For all the film’s faults, Saunders and Lumley still bring an addictive energy to the screen that finds you wanting more.
  25. That the structure consistently undermines its own storytelling is frustrating when the story to be told is a vital and interesting one.
  26. Yes, it’s the DCEU’s best film, but as we know, that’s not saying a lot. But, hey, that terrific second act that we should cling to even if it’s a distant memory by the time love defeats aggression. “Wonder Woman” might be molded by the mighty Gods, but as shaped by mere mortals her mettle and beliefs and can be only so wonderfully divine.
  27. While The Ones Below doesn’t make it over the finish line, Farr shows good instincts, and has an ease for creating tension without overt manipulation, while keeping everything engaging enough that you’re willing to overlook questions that nag after the credits roll.

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