The Playlist's Scores

  • Movies
For 2,156 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 1.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 12:08 East of Bucharest
Lowest review score: 0 Getaway
Score distribution:
2156 movie reviews
  1. 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.
  2. For all the film’s faults, Saunders and Lumley still bring an addictive energy to the screen that finds you wanting more.
  3. That the structure consistently undermines its own storytelling is frustrating when the story to be told is a vital and interesting one.
  4. 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.
  5. 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.
  6. Though he gets fine performances from many quarters...the film is scuppered by an approach that sees it build on the bones of the novel without ever quite animating its heart.
  7. As it fritters away character work and ideas about faith and devotion, this is a film clever enough to scare us but not smart enough to accomplish anything more.
  8. Despite Seyfried’s gameness, we come away a little deadened from the experience and knowing precious little more than before about the person who inhabited the body, the life and the throat of Linda Lovelace.
  9. It might be overlong, overstuffed, and occasionally operatic, but that doesn't mean that it can wring the tears out of you.
  10. Lord knows the superhero genre could use some fun poked at it and we were psyched to see the film, but while there’s some fun to be had, it can’t help but feel like a missed opportunity.
  11. In the end there's nothing surprising in Sisters, except for the fact that it isn't anything more than a party movie.
  12. An outlandish fantasy that surrenders to overheated melodrama, but nonetheless titillates the eyes like a grand feast.
  13. With so many elements already in place there may still be a great comedy in there somewhere. With a little more finesse, Bachelorette could be the raucous female-led comedy it strives to be.
  14. In its portrait of a strong, independent woman learning to embrace her own ambition, desires, and future via the aid of an older male mentor-cum-father-figure, it colors its triumphant fantasy of female empowerment in a distinctly conservative, paternalistic shade.
  15. McNamara attempts to keep the movie ticking right along, and for all its half-cocked plotlines, Ashby is able to maintain a consistently humorous and light tone.
  16. Yes, it's uneven, more jokes miss than hit, and it winds up taking easy dramatic shortcuts from the more interesting avenues that the script presents, but it's thanks to the lead quartet that the comedy is as engaging at it is.
  17. Alluring and captivating, Thou Wast Mild and Lovely can’t ultimately overcome its undeveloped arty tendencies, but its hazy exploration of dread and desire is still unique enough to make an impression.
  18. Isn't a bad freshman effort, but it doesn't offer anything to set it apart from dozens of other indie dramedies.
  19. Size may not matter in this diminutive story, but the film's slight, disposable quality hardly qualifies it as an essential tale to astonish.
  20. The film makes distant what surely should be vital and alive.
  21. Desplechin lashes storylines and filmmaking gimmickry in to the one ginormous stewpot with gusto, slams the lid down on it and promptly forgets to turn on the heat.
  22. While the performances are compelling, particularly Franco's, and the ideas batted around are worth grappling with, much of the storytelling is bogged down by extra details and exposition, and hampered by its unwillingness to take a position on the topic. An interesting story, but unfortunately, rather uninterestingly told.
    • 65 Metascore
    • 58 Critic Score
    In only his second film, it’s evident that Chon possesses a forcible voice for storytelling and a keen eye for character building.
  23. When focused on the natural world and the internal thoughts of its characters, Noah positively crackles with the energy of a filmmaker inspired by a new perspective on classic material... But the latter half of the film, turgid and hamfisted throughout, cripples the film so severely that it makes one thankful for the added elements to Noah’s story.
  24. Maggie is not your standard zombie movie, and while it tantalizingly puts action hero Arnold Schwarzenegger into the lead role, the film is actually low on setpieces, and instead is a ponderous, sombre take on the genre that may leave those looking for a traditional horror flick disappointed.
  25. Working off what appears to be a pretty decent script by Mark Poirier, who does a good job of juggling quite a few story threads and giving each enough attention and depth, Johnson's rigorous and formal approach doesn't allow for any sparks, let alone fireworks.
  26. It may not always work as a drama but The Skeleton Twins proves to be a fine showcase for Wiig and Hader, showing they are both capable of dramatic material.
    • 69 Metascore
    • 58 Critic Score
    This is one of those films where the less you know going in, the better. It’s fair to say that some genre elements start to bubble up and then pretty much burst to the surface by the film’s end, all while remaining a romance at heart.
  27. While the execution may be somewhat of a misfire, the obvious effort and thought put into making the concept work is worthy.
  28. Despicable Me 3 is sadly a discouraging, hollow sequel that’s hard to love.

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