The Playlist's Scores

  • Movies
For 1,733 reviews, this publication has graded:
  • 55% higher than the average critic
  • 2% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 1.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Cosmopolis
Lowest review score: 0 Getaway
Score distribution:
1733 movie reviews
  1. Gabriel often feels like a feat, for both writer/director Howe and Culkin. It's a movie that might not be easy to watch, but is well worth the effort.
  2. 'Never Sorry' feels borderline unfinished, as it never draws that line between Ai Weiwei and the generation of successors to his throne that he has inspired. Perhaps it doesn't have to. Perhaps you're already one of them.
  3. After years of being a long-lost gem, Cousin Jules has finally been found and is receiving its due as an innovative, meditative case study of rural life.
  4. Trier’s sensibility for the dynamics of family, for the depiction of nebulous memory, and for the detail of life (the film’s full of beautiful, complex scenes), means that I’m already eager to take a second look and see what else there is to unpack.
  5. In Western, the filmmaking philosophy remains the same, but the subject is new and different, and the storytelling is deeper, nuanced, and honed by experience.
  6. Touching and brimming with the energy, enthusiasm and tides of teenage love and life, 'Perks' could very well be the next classic of the genre.
  7. The specificity of the documentary, staying within the walls of the boot camp for virtually the entire movie, is one of its biggest strengths since it is able to place you right alongside these kids.
  8. There’s a youthful energy running through Una Noche that threatens to overwhelm, from it’s sun-kissed first image to its final moments on the sands of the beach.
  9. For its majority, the film is all comedic and political fire, but as its winds down, Timoner rounds it off with a tone of melancholic, tragic inevitability to Brand’s life.
  10. Aided by intensely committed performances from a uniformly brilliant cast, all fielding Scottish accents, Kurzel's genius is to be able to find clean lines of dramatic connection and motivation within the existing text and then to interpret those imaginatively, without becoming simplistic and without compromise.
  11. A Hard Day is a film that sets itself fairly narrow ambitions, achieves all of them and then some and yet has no pretensions to importance, weightiness or artistic self-expression.
  12. Mordaunt’s eye indicates a thoughtful filmmaker able to listen to the winds of what a movie needs. Effortlessly natural, his workmanlike craft carries the capacity to keep an ear open to happenstance.
  13. Takes the standard gangster movie template and blasts it out of the water.
    • 60 Metascore
    • 91 Critic Score
    Tab Hunter Confidential is fun and gossipy in the way that great documentaries about Hollywood often are, but it also speaks to a deeper truth about identity and perseverance and the large divide between one's personal and professional life.
  14. Girlhood is a fascinatingly layered, textured film that manages to be both a lament for sweetness lost and a celebration of wisdom and identity gained, often at the very same moment.
  15. Meticulously crafted and investigated (and no doubt heavily vetted by lawyers), Berg brings a sobering solemnity to a very grave matter, but also lends a dignity to its subjects without pandering.
  16. The film's not merely content with being a twisty psycho-thriller. Boyle and Hodge expertly tweak and tinker with your sympathies, and the characters you initially peg as heroes and villains may not be in the same place by the time things wrap up.
  17. Her
    It’s an incredibly melancholy, intimate and yet often hilarious look at relationships and connection that provides a surprisingly great deal of insight into the human condition. It’s both sweet and considered, as well as observant about our fears, masks and growing alienation.
  18. To his credit (and without affectation), Gondry doesn’t cloak the fact that he is often perplexed by his subject. Because of his confusion though, we are able to learn quite a lot.
  19. With pitch-perfect performances across the board, and boasting crisp photography and editing, the film never ceases to twist, turn and surprise, taking wicked joy in constantly switching us back on ourselves and our expectations of the characters.
  20. I Am Breathing is not a documentary intended to induce sobbing. It is, instead, a film about dying that is stunningly alive, wildly optimistic, and always insightful and entertaining.
  21. At its heart, Raiders! is an underdog story, and as with any underdog story, it becomes even more compelling as the stakes are continually raised against our heroes.
  22. Though Certain Women is difficult, it’s hardly obtuse. And for those willing to trust that Reichardt is in full command of this material, “Certain Women” is utterly enthralling.
  23. Neighbors is one of the funniest, most visually inventive studio comedies in recent memory.
  24. It may be a hugely tacky, cartoony balloon pit of a film, but when every single element is dialled up to eleven and you can't go thirty seconds without another three-way face-off between OTT, OMG and WTF, it starts to achieve a maximalist artistry that almost feels avant-garde. At least that's my story and I'm sticking to it.
  25. As it did with the actual case, Happy Valley will divide audiences and create heated discussions over the many contradicting reactions given by its subjects. However, there’s one point that won’t be controversial: It’s one of the best documentaries of the year.
  26. Metro Manila is a horror story in its own unflinching way.
  27. Striking and consistently engaging, the Russos deftly craft compelling blockbuster entertainment out of a a moral and emotional conflict, and that’s more impressive than any overblown display of loud and vulgar power.
  28. A truly moving and edifying film, Rich Hill is the type of media object that could and should be put in a time capsule for future generations.
  29. It isn't really about the people as much as about the pictures, and for once that does not seem to be a trade off that compromises the power of the resulting film at all.

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