The Playlist's Scores

  • Movies
For 2,249 reviews, this publication has graded:
  • 56% higher than the average critic
  • 3% same as the average critic
  • 41% lower than the average critic
On average, this publication grades 1.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Gerald's Game
Lowest review score: 0 No Good Deed
Score distribution:
2249 movie reviews
  1. Manipulative and over-engineered, starring high-profile actors doing all they can elicit deep compassion, Collateral Beauty fails to make an impression, and contains not nearly enough authentic beauty to make it worthwhile.
  2. Rogue One is a very good “Star Wars” film, frustratingly though, it falls short of being a truly great one.
    • 60 Metascore
    • 83 Critic Score
    Bakker and Koevorden have made a sleek and captivating documentary, and the rhythm of Bob and Marcel’s interaction and the pain in which they continue to just go on, is shot with distinctive style and makes for an impressive film.
  3. It starts out less not-good than it ends up, to be fair, and for the majority of its running time, it’s engaging enough. Its chief issue in these parts seems to be that the director isn’t super sure if he’s making an action thriller with apocalyptic overtones, a family drama, or a character portrait/performance showcase, so the tone is all over the place.
  4. Lacking real zest or fun, it’s a middling effort, if one with ample heart and good intentions, that happens to star two actors who can rise to the occasion when necessary. Working together, it’s a shame that they serve both as this frustratingly mediocre comedy’s most reliable pleasure and most consistent disappointment.
  5. What one takes away from My Life As a Courgette might be a casually simple and forward affair, but a deeper, more considered look at Barras’ moving tale reveals an emotional resonance and non-saccharine uplift that is mostly rare in today’s animation world. Consider it a diamond in the rough.
  6. A paean to the unsung, Hidden Figures is also a romanticized tribute to everyday problem solvers who, in the movie’s eyes, are their own kind of superheroes.
  7. The ultimate effect of the film’s hackneyed material is as debilitating as it is frustrating.
  8. Sure, there are some generally reliable players (T.J. Miller, Jason Bateman, Kate McKinnon), which keeps things from getting deathly dull, but the newest film from directors Josh Gordon and Will Speck (“Blades of Glory”) is mostly uninspired and bland.
  9. Mostly this is a thrillingly compassionate, deceptively simple, and wholly invested look at a capable older woman with a lively mind coping with a series of common misfortunes. Where that could be depressing, or at least overridingly melancholy, here it is strangely hopeful.
  10. Sleight is imaginative and refreshing as it shape-shifts effortlessly through familiar narrative tropes and invents something unexpected and unique.
    • 44 Metascore
    • 42 Critic Score
    The film not only traps its characters, but also corners its story, with the ‘Experiment’ by Mclean and Gunn not allowing any room for variables that might bring some inventiveness to this otherwise steel-shuttered bore.
  11. Not only is Bobby Sands: 66 Days allows us to put together a great double feature with “Hunger,” it’s also an incredibly important and profoundly inspiring historical documentary that will become more and more relevant as we prepare to once again face the kinds of oppression that Sands fought against.
  12. If the film’s climax comes off as thematically clear — an outgrowth of the tension heretofore developed — it otherwise leaves an aftertaste of slightness.
  13. An inspired, spellbinding, wonderfully-realized tale and a dazzling, visually/morally beautiful treat for the eyes, ears, heart and soul that richly weaves an all-inclusive journey based in culture, heritage, friendship and self-importance.
  14. With The Tree Of Life the director has once again created a cinematic experience that is uniquely his own, often powerful and mesmerizing, at times overreaching and overbearing, but never forgettable.
  15. Jessica Chastain is a great actress, but with Miss Sloane, she also proves that she’s a great movie star.
  16. Waters’ comedy — like its forerunner — comes impressively close to elevating cursing to an art form, especially when wielded by Thornton and Cox, who spit and sneer vulgar invectives at each other like gutter-trash virtuosos.
  17. There’s nothing lost in the translation of Fences, but its high fidelity means there’s little, if any, inspiration to be found within.
  18. It’s an engaging film in many respects, but one that exemplifies a lot of the problems that have trailed Zemeckis across his career.
  19. Uneven though it is, and downright shaggy at times, Prevenge is valuable in that it plots so unexpected an expectant-mother story — one in which pregnancy is actually ultimately minimized in terms of its impact on the story.
  20. The fine cinematography, set design and costumes only serve as a distraction from the sparsely drawn story and uninteresting characters.
    • 69 Metascore
    • 91 Critic Score
    Berg’s approach is blunt and effective. With Patriots Day, he’s made an action film that grabs you by the throat and doesn’t let up.
  21. Benyamina displays an empathetic and insightful view of young women, and the challenges of growing up, even if the screenplay doesn’t always follow through. But what Divines absolutely gets right is the deep longing and hunger young people have to better their circumstances, and the desperate lengths they’ll go to reach those goals.
  22. As a world-building exercise, Fantastic Beasts often succeeds. It’s charming, playful and welcoming in ways these movies haven’t been since the first two installments, and the patchiness of the plot is often forgiven because these characters are likable, rather affable, and well-cast.
  23. As a visual love-letter to the Yangtze River, Crosscurrent takes your breath away. As a narrative film, it’s all washed up.
  24. Magnus is gifted with a tremendous opportunity and mostly squanders it, creating a profile that certainly admires Carlsen, but does little to uncover the methodology or magic behind the dazzling display he demonstrates on the board.
  25. Steinfeld’s performance and the script from Kelly Fremon Craig have created a young woman who feels entirely familiar, while never feeling like a retread of the other teenagers who have walked the cinematic high school halls before her.
  26. This isn’t merely “eating your cinematic vegetables,” as Kennebeck manages to present a well-paced and structured documentary that’s also culturally significant.
  27. There is a sense of exhaustive familiarity that permeates throughout Taylor Hackford’s new dramedy The Comedian.

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