The Playlist's Scores

  • Movies
For 2,209 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 12:08 East of Bucharest
Lowest review score: 0 Saving Lincoln
Score distribution:
2209 movie reviews
  1. What dooms Hit and Run, which, charitably, is not as generic as it's name implies, is that the film itself comments on its own sincerity.
  2. Runner Runner is content to stay high gloss, with no filler.
  3. Corddry’s Lou was an enjoyable, over-the-top asshole in the first film, providing most of its humor, even while surrounded by an equally strong cast. However, here, he’s just a truly disgusting human being. Worse still, he’s not that funny.
  4. There's no doubt Austen fans will find things to admire, but like the protagonist, you can’t help but leave Austenland feeling a bit unfulfilled.
  5. Devolving into clodhopping heavyhandedness...Stations of the Cross tackles a weighty, complex subject in simple-minded fashion.
  6. Your mileage with the movie will depend on how much you like these guys to begin with, because even if you're a fan, the one joke premise has a hard time sustaining a full length movie.
  7. The project seems compromised by a meager budget and limited scale.
  8. Abraham the writer lets down Abraham the director, and ultimately lets down his stars and Spinotti, too.
  9. Jem has less in common with its neon-drenched ‘80s source material than with the real-life Internet-to-red-carpet trajectory of Justin Bieber — a similarly generic teen idol with moves dully modeled on superior artistic predecessors.
  10. Playing with genre is fine, but if you're going to create new rules, you have to play by them too, but unfortunately Warm Bodies continually subverts its own internal logic and basic, believable character motivation to keep pushing the movie along.
  11. In embracing the disorienting quality present in Frank’s work, 'Don’t Blink' is but an abstract portrait, muddled by a jarring messiness.
  12. You get the feeling that if there were less fighting and more character work, not only would Bell knock it out of the park, but Raze would be a better, more interesting movie.
  13. Manages to be both overwrought and strangely lacking in drama, staggering under the deadening weight of an uninvolving central character. It is a shame, because many of the elements were in place for something much more compelling.
  14. It promises a minute character study, but Franny, though embodied by a game Gere who in all fairness does visit places in his performance we have rarely seen him even stop by before, is less a person than a collection of quirks.
  15. Being played by Gregg himself makes the transition more organic than it was for Rockwell in "Choke," but it still rings false.
  16. Somewhat spastic and overcooked, Seven Psychopaths might have a few too many.
  17. The filmmaker clearly has great skills and a knack for pulling strong performances out of actors. But the tone-deaf misjudgment of the film’s second half is catastrophic.
  18. Sadly, the core of ‘Fade’ is essentially banal, and the narrative is too blunt and inert to make any kind of lasting impression.
  19. Bloodless, far too genteel, and perfectly content to continually tell where a little showing would be nice; Night Train to Lisbon ends up a deeply unadventurous adventure story.
  20. The engaging opening third of Cooties is enough to make the rest of the 96-minute film a mildly amusing diversion, but as the minutes roll by, you'll wish the brains of the film had remained intact.
  21. The pleasure and the pain are all up there on the screen; we just wish it was less painful to watch.
  22. Thanks to a few exemplary moments of monumental acting from Hoffman, truly harmonious singing from the boys, and a graceful score by Brian Byrne, Boychoir is, at its best, a comfortable viewing and listening pleasure.
  23. Unremarkable but occasionally enjoyable, Levy’s dramedy is pleasant enough, but it grows tired, losing focus by the end.
  24. Caught In The Web grows slack as its premise evolves.
  25. It’s a heartfelt and undoubtedly well-meaning film, attempting a character study of a woman of an age and lifestyle that makes her an unusual and therefore unusually worthy subject. But Angelique’s overriding characteristic is that she is incapable of fundamental change which makes her at best a frustrating protagonist for this drama.
  26. Wiig really shines in the film, proving that her finely honed comic timing can make a character work even when the film ultimately doesn't.
  27. The Lost Arcade suffers not because it lacks an egalitarian heart, but because Vincent makes his arguments through a myopic lens.
  28. The Words fails to surpass dramatically the bland lack of specificity in its title while still offering a solid roundup of performances from its talented ensemble cast.
  29. A film that is enjoyable in spots, but haphazard and ultimately unsatisfying.
  30. Karr came up through documentary filmmaking, and he knows how to turn the switch on an event to make it feel immediate and dangerous. Unfortunately, the picture strands its characters in the middle of this event, building to a climax that seems open-ended if only because the story, and its skimpy characters, has nowhere to explore.

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