The Playlist's Scores

  • Movies
For 1,291 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 1.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Tu Dors Nicole
Lowest review score: 0 Vice
Score distribution:
1,291 movie reviews
  1. Metro Manila is a horror story in its own unflinching way.
  2. 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.
  3. 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.
  4. The filmmaking here is almost impossibly well-realized, right down to the evocative sound design, adding up to an fairly unforgettable experience.
  5. A welcome change of pace and a truly hilarious, heartfelt experience.
  6. Lowery is the real deal and understands filmmaking, and this is abundantly clear in this searing, romantic crime drama and love story.
  7. The entire movie is a whirlwind of personality, a gate into a world you only get a whiff of as a customer.
  8. '71
    ‘71 is more than just a performance showcase, delivering a gripping, at times almost unbearably tense, incredibly involving anti-war statement, made the stronger for being set against the less cinematically familiar backdrop of Belfast in the year 1971.
  9. Made with a chip on its shoulder and a generational insight that would put most Oscar bait to shame, this completely daft film deserves to be seen by anyone who remotely supports the potential of the horror genre, to frighten, to disgust and to anger.
  10. Paddington is totally delightful.
  11. Nancy, Please begins as a deadpan slacker comedy with existentialist undertones, and Will Rogers' Paul is a ball of unsettled twentysomething nerves. It's a subtle shift in Semans' first feature, both in tempo and in Rogers' performance, that we don't realize the film taking on a slightly more diabolical undertone.
  12. Blending a surrealist perspective of battle-tinged faith with the harrowing tale of one girl's resilience, the film is a laser-focused fable threatened occasionally by its drifts into character shorthand, but equaled by a wrenching lead performance by Rachel Mwanza that results in one of the finest of the year.
  13. Alvarez’s clinical but deeply engrossing execution of the drama is mesmerizing in its directness.
  14. It’s a curious, infuriating and haunting tale, and an accomplishment of documentary filmmaking.
  15. Eisenberg does an enormous amount with what he has, proving to be sinister and vulnerable virtually within the same breath, and expertly putting across the torment he’s going through.
  16. The sincerity and earnestness of Stand Clear of the Closing Doors are brave and true.
  17. The Boxtrolls charms, in every way it can – with its gorgeous animation style that combines lo-fi with high-tech (the puppets were printed using 3D printers), with the huggable nature of the characters, and with the boldness of its storytelling and thematic concerns.
  18. A beautiful, hearfelt and raw piece of work.
  19. This is a peculiarly beautiful film, with lingering sustain and the kind of hard-won optimism that feels truthful as well as hopeful.
  20. 99 Homes is by no means a perfect film, but it can achieve something more precious, and rarer than glossy perfection: it can take you by the shoulders and shake the apathy and complacency away.
  21. The filmmaking is admittedly functional rather than particularly artful, but you somewhat appreciate that Warchus is determined to distract you as little as possible from the story and characters.
  22. An expertly timed, painstakingly assembled and endlessly engaging game of cat and mouse, Grand Piano succeeds as a whole for the same reasons that Selznick does—namely, because Mira brings all of its elements to work together in concert, and then executes them like a virtuoso.
  23. The experience of Leviathan is wholly singular, without context, enveloping and immersive. In some ways, it might very well be the most terrifying picture of the year.
  24. By the picture's knotty finale, in which Audiard navigates a late-stage twist with ease and emotion, you know you are in the hands of a master who is directing with the confidence and command that few possess.
  25. Director Johanna Hamilton should be credited for getting these faces in front of the camera, to humanize political rebellion of an early era not as some sepia-toned memory, but a story of very human individuals.
  26. Avranas makes a claim to be considered among the top ranks of international filmmakers.
  27. Trenchantly reflecting on the mishandling of success, blind ambition, idolatry, hero worship and the complex and competitive nature of artists in romantic relationships, Listen Up Philip is brilliantly chock-a-block with resonant observations.
  28. It says something, then, that Burton's best, most enjoyable, and most emotionally resonate film in years is actually an adaptation of one of his very first projects: Frankenweenie.
  29. It’s easily the most suspenseful American film of the year, a thriller that feels like lightning across a quiet night sky; sudden, terrifying, and excitingly singular.
  30. The picture is often graphic and pulls no punches in its disturbing violence, but its unflinching nature gives it a memorable sear that won't soon be forgotten.

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