The Playlist's Scores

  • Movies
For 777 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 1.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Room 237
Lowest review score: 0 The Incredible Burt Wonderstone
Score distribution:
777 movie reviews
  1. When focused on the natural world and the internal thoughts of its characters, Noah positively crackles with the energy of a filmmaker inspired by a new perspective on classic material... But the latter half of the film, turgid and hamfisted throughout, cripples the film so severely that it makes one thankful for the added elements to Noah’s story.
  2. There is enough of a simple charm to A Birder's Guide To Everything that there are worse things you could do with your hour and a half. The lead teens in particular give the material a realness that may not have been there on the page, and the filmmakers know enough not push the quaint story beyond the safe parameters it operates in.
    • 38 Metascore
    • 58 Critic Score
    Despite having a lead that can fend for herself, and a fun ensemble of co-stars, In the Blood runs dry.
  3. 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.
  4. While the premise certainly makes it stand out from the sea of dysfunctional family dramas, a cute idea alone doesn't quite cut it. In the end it's just not funny enough to be completely entertaining and the sentiment feels tacked on.
  5. 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.
  6. 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.
  7. Somewhat spastic and overcooked, Seven Psychopaths might have a few too many.
  8. The trio (Hoffman/Keener/Walken) give top shelf performances as we've always come to expect from them in A Late Quartet. But it's just too bad that they're in service of Yaron Zilberman's film, which takes the unique focus of a string quartet in Manhattan, and puts it in the middle of a standard and unsatisfying soap opera, that spins off into one subplot too many.
  9. With both Garner and Shahedi providing voice-over, the small-town stakes and the big thematic ideas, Butter feels like someone trying to create the lemonade tang and quenching zest of, say, Alexander Payne's "Election."
  10. Yes, the idea is unique. But they aren't quite ready to shake off what has worked for them for years -- namely making girls want to be special and popular, and boys strong and heroic.
  11. There's something deeply poetic about Lincoln making his way through a changed nation to meet his demise. Such poetry is nowhere to be found in Lincoln.
    • 55 Metascore
    • 50 Critic Score
    That feeling of utter disposability pervades throughout the film, underlining the missteps of Gervasi by aiming for breezy entertainment while forgetting to pause and inject some genuine emotion in there as well.
  12. Largely harmless and tame, but also shallow and uninvolving.
  13. It's Middle America vs. big bad corporate America, and while the (not so) "bad guy" predictably finds salvation in salt-of-the-earth people, Promised Land often leaves a sour taste in your mouth.
  14. While 'Les Mis' ends terrifically, it cannot make up for the largely uneven experience that comes before it. There is no doubt an abundance of passion and commitment in Les Miserables but when the musical isn't connecting emotionally -- which is at least half the time -- it's a lot of blustering sound and fury that could either use a dialogue break or an edit.
  15. The movie is basically The Portrait Of The Artist As A Young Mad Man, but don't be shocked if you find yourself asking just what art he was practicing in the first place.
  16. Quartet is a hard film to dislike entirely, thanks principally to the charms of its cast.
  17. The film similarly boxes itself in when it feels the need to mimic the third-act occurrences of "Paranormal Activity" when it's obvious that improv had the film going in an entirely less predictable direction, clearly pointing out the fallacy of A Haunted House: you can't parody something and also try to emulate it as well.
  18. An oddity recommended for only the most fervent, undemanding comedy junkies.
  19. There is a lived-in quality to Supporting Characters that comes from either a strong cast or days of rehearsal – unclear as to whether they had the latter, though they definitely have the former.
  20. 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.
  21. Alien abductions are a truly terrifying idea, and building an alien abduction movie on the template of "Poltergeist" is a great idea. But "Poltergeist" had one thing Dark Skies is sorely in need of: follow-through.
  22. Rubberneck is a thriller too drab and self-obsessed to ever be truly thrilling.
  23. Mud
    Mud is as unmoving as it is because it doesn’t aspire to be anything other than a competent anti-fairy tale in which the paint-by-number morals are enforced by equally obvious main protagonists.
  24. A valiant attempt to build on the magic of “The Wizard Of Oz,” and while it certainly doesn’t diminish the standing of that movie, Sam Raimi’s film provides proof that the more we know about the mysteries of our favorite stories, the less interesting they become.
  25. With the help of a talented cast, The Brass Teapot is able to coast on charm for the first hour, but then the fairytale idea that powers the film runs out of juice, and the last forty-five minutes hurtle toward a wrap-up that feels both awkward and overwrought, needlessly portentous and arriving much too late.
  26. The movie is never without forward momentum, it's just too bad when just when it's ready to go to interesting places, we jump back to Bonner and Aya's pedestrian romance.
  27. As emblematic of the film’s general indifference as anything is Driver’s central, perfectly fine performance.
  28. Down The Shore at least deserves credit for its strong performances.

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