The Playlist's Scores

  • Movies
For 2,027 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: 64
Highest review score: 100 Samsara
Lowest review score: 0 The Last Face
Score distribution:
2027 movie reviews
  1. Filled with imagery both moving and mordant... 12:08 East Of Bucharest doesn't pretend to have a position on the fallout of the Romanian Revolution. Instead it contends that different questions need to be asked and considered about post-Communist life, about the blame about the current state of the country, and where the future lies for Romania's youth.
  2. Heineman has a unique ability to condense and explain complicated information and political events without straying from the deeply personal journeys of his subjects or relying on talking heads or text.
  3. There are ups and downs and soapish highs and lows, but what stops this from ever becoming a telenovela is the riveting wonder of the performances and the sheer brio of the filmmaking.
  4. Hirokazu has crafted a warm and lovely film that suggests the easiest thing about raising a child is embracing how complicated it can be.
    • 92 Metascore
    • 100 Critic Score
    A marvelous experience for any devoted cinephile.
  5. One of the best films of the year.
  6. The combination of compelling subject with an exciting and expert approach to documentary form achieves that transcendence you hope for in this genre: a melding of subject and text that is its own beast but also perfectly reflect each other.
  7. This is a virtuosic piece of filmmaking art that also happens to be almost unbearably moving. Actually, there is no “almost.”
  8. If there was ever any doubt as to Zvyagintsev's position as one of world cinema's foremost auteurs, it's put to rest here. His filmmaking has always been superb, but he's never taken on the state of his nation in the way he does here. And that makes "Leviathan" not just masterful but also hugely important.
  9. Tipping’s bold and meditative drama with its reflective moods and streetwise grime has delivered one of the best feature-length debuts of 2016 and one of the best films of the year, period.
  10. A brilliant, towering picture, The Place Beyond The Pines is a cinematic accomplishment of extraordinary grace and insight.
  11. In the end, all the strangeness adds up towards something genuinely significant: an atypically rich and substantial comedy that's stuffed with great scenes and performances even before you start to chew on its bigger questions.
  12. If it presents an accurate picture of this reality, then it feels like it’s a reality that is unstable, so far cut off from the mainstream of life that it has begun to fray into the surreal and the magic at the edges.
  13. A bold, blunt, yet clinically intelligent film that provokes as much for its dark humor as for its righteous outrage, it's all at once a gripping thriller, an incendiary social critique and a mordant moral fable.
  14. Humanity permeates Cameraperson, thanks to Johnson’s presence, so as experimental as it is, it’s also stirring and poignant, with a tangible sense of empathy intact in every frame.
  15. Presenting a terrifying view of a hidden holocaust and a moral apocalypse in which the most basic humanities have become twisted beyond recognition, The Act of Killing is a towering achievement in filmmaking, documentary or otherwise.
  16. One of the best documentaries, and best films, of the year, it is required viewing for anyone with a desire for making their own world a better place, inspiring you to act up and fight back.
  17. It’s borderline miraculous.
  18. Inspirational, entertaining, and absolutely awards-caliber (from first-time director Karasawa), Elaine Stritch: Shoot Me offers up an indelible and rare experience in cinematic form—it’s simply an absolute treat to be able to spend this much intimate time with such a legendary lady.
  19. As a documentary and a love story, Cutie and the Boxer is nothing short of breathtaking.
  20. The film isn’t a white knuckle ride, and the pacing can be slow at times, but this is one of those cases where that’s sort of the point, and you certainly don’t begrudge it. A Hijacking is an absorbing, highly moving film.
  21. A movie so simple, so elegant, and yet so devouringly empathetic that you might not notice its full magic until a few hours later.
  22. Lafleur maintains a bouncy, consistently funny tone that you'd describe as featherlight, were there not real weight grounding it all. It's a near-miraculous trick, and evidence of the immense talent on display here: he has a real talent for making comedy work visually, and as you might expect from a former editor, a sense not just for landing a joke, but for creating a unique and distinctive rhythm.
  23. Unique and at times profound, it's a reminder of how much Kubrick left for us to appreciate in his work, and how the greatest films always leave something more to be discovered with each viewing.
  24. Blue is the Warmest Color is a masterpiece of human warmth, empathy and generosity, because in a mere three hours, it gives you a whole new life to have lived.
  25. The actions and events are naked to our eyes, not couched in reasons and justifications, not softened by explanations, by words.
  26. As far as animated movies go, it doesn't get that much better than Frozen. It's a new Disney classic.
  27. Uncompromising and uncommercial, divisive and brave, Killing Them Softly bitterly boils at the state of the nation.
  28. perhaps the greatest achievement is in how brilliantly the film balances the trademark Dardennes social conscience with a conceit that plays out almost like a ticking-clock thriller, as well as being a deeply felt character study.
  29. The great, unifying success across all ten shorts is Kieślowski’s representation of Poland, which is political, social, and personal all at once. Each movie is its own experiential encounter.

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