The Playlist's Scores

  • Movies
For 1,187 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 1.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 12:08 East of Bucharest
Lowest review score: 0 The Campaign
Score distribution:
1,187 movie reviews
  1. A loving and in fact overly adulatory genre film which is not so much a take on the revenge Western as a deeply faithful recreation of it, at times so faithful as to veer dangerously close to pastiche.
  2. The cast alone deserves to be recognized more than the notes of “Speak It, Don’t Leak It.” And yet, here I am, humming it.
  3. For every moment of comedy that lands or drama that touches a nerve, there are ten of “why the bloody hell should I bloody care?” or “cry me a river, you had to sell your Brueghel.”
  4. Its patchy tone, plot, characters and sympathies make for a film that’s difficult to wholeheartedly endorse.
  5. It's a sterile affair, no ambiguity, no ambivalence, just people doing one thing and then another.
  6. Moretz is great here, able to rise above the voiceover and dialogue she’s given. And thank goodness, because she's in almost every frame.
  7. The Last Stand delivers -- up to a point. Keep those expectations reasonable and try not to be disappointed.
  8. Gently involving, but never quite engrossing, there’s a first draft shape to the picture that feels slight and makes for a minor work.
  9. The Keeping Room attempts a blend of sexual curiosity, home invasion horror and elegiac drama, that doesn't quite work, but whose ambitions are nonetheless compelling.
  10. There’s no denying the lovingly recreated production and costume design, all curved corners and wide lapels, and the era’s sexual politics and self-help movement are slyly incorporated as well... However, the droll humor on hand is more hit-or-miss.
  11. Mark Strong and an underused Brian Cox are fine, and Taissa Farmiga demonstrates why she is acknowledged as one of America’s most promising young talents. But she deserves a better role, everyone involved deserves a stronger script.
  12. The 90-minute film feels shallow and, while Rosi has a good eye, not especially cinematic.
  13. 360
    If the film had not been afraid to go a little darker (like its sexually frank opening), dig a little deeper, and develop its characters beyond their stereotypes, it would have been a much stronger effort.
  14. While there's a lot of fun to be had, Furious 6 doesn't quite hit the insane heights of "Fast Five," but we're sure it'll delight franchise fans who mostly want to see bald people butt heads, and moving vehicles crash into other moving vehicles.
  15. By sex line standards, For a Good Time, Call... clearly succeeds –- it starts off slow, includes plenty of dirty talk, then gives us the happy ending we came for –- but our needs are a little bit greater when it comes to good films.
  16. Well shot and well made, Kill Your Darlings is a very competently constructed effort on a whole, but there’s an emptiness and familiarity at its core that it cannot transcend.
  17. It's enjoyable and toe-tapping for what it is, but it's also extremely lightweight stuff.
  18. 17 Girls is mostly fueled by grrl-power, from it's nineties-era femme-centric alt-rock, to it's marginalization of boys as sperm-deposit devices, unfair but a natural corrective to years of women onscreen as purely sexual objects.
  19. Though not a poor effort per se -- David Chase's Not Fade Away does authentically captures the heart and soul of the music of the era and the intoxicating/naive dream of making it big -- the picture isn't exactly a remarkable one either.
  20. Perversely episodic, strangely empty, and unfolding in a series of beautifully composed but static wide shots (giving us the unusual experience of literally yearning for a close-up), the film is a test of patience.
  21. This film has all of the pieces to be a great and thorough documentary (a cult turned popular subject, new and old footage, interviews with admirers, friends and colleagues, authorization by the lady herself), but misses the mark.
  22. It is beautifully shot, well-acted by all (especially by Waldstätten, Strauss, and Simonischek), and filled with strong dialogue and a real sense of place. But despite the cast’s best efforts, it is never moving, and rarely surprising.
  23. If women's pictures are truly dying (in this personal reviewer's opinion, they are not if you know where to look) it's movies like Love Is In The Air that are its executioner.
  24. While The Town That Dreaded Sundown is ambitious and supremely weird, it fails to cohere into something more resonant.
  25. A film that, while often beautiful to look at, feels oddly bloodless in execution.
  26. Shot in pedestrian fashion, it is set in an intriguing and entirely foreign milieu, but the film ends up just too inscrutable and oblique for us to really engage with it, or its often incomprehensibly motivated characters.
  27. That the structure consistently undermines its own storytelling is frustrating when the story to be told is a vital and interesting one.
  28. Despite Seyfried’s gameness, we come away a little deadened from the experience and knowing precious little more than before about the person who inhabited the body, the life and the throat of Linda Lovelace.
  29. It might be overlong, overstuffed, and occasionally operatic, but that doesn't mean that it can wring the tears out of you.
  30. An outlandish fantasy that surrenders to overheated melodrama, but nonetheless titillates the eyes like a grand feast.

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