The Playlist's Scores

  • Movies
For 993 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 0.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Cutie and the Boxer
Lowest review score: 0 I, Frankenstein
Score distribution:
993 movie reviews
  1. At 100-minutes, the movie drags and drags until finally losing steam in the last act and then collapses into a pile of worn out platitudes, limp gross out gags and gooey sentiment.
  2. Miller's documentary skills seem solid enough, but this particular story needed more objectivity, and a lot more rigor, to be worth telling in this manner.
  3. It offers a handful of effective moments and some characters that are fun to watch squirm through muck and bones, but not much more than that, especially when the films spins out of control towards its conclusion.
  4. Frustratingly uneven, Kelly & Cal is too glib and prosaic to truly be insightful or impacting.
  5. Not particularly sophisticated, the searing intensity of revenge in The Equalizer is still occasionally arresting (and even entertaining) in its stylish hard-R violence.
  6. Though Horovitz's directing is workmanlike solid, and while the movie has a certain charm that makes it easy to walk in the door, it gives you little reason to stay.
  7. Unremarkable but occasionally enjoyable, Levy’s dramedy is pleasant enough, but it grows tired, losing focus by the end.
  8. Jackie & Ryan is supposedly all about learning how to git where ya gotta go, but none of the characters start or end in particularly interesting places.
  9. An uninspired narrative and disengaged performances ultimately keep persuasive deep feeling and captivation at a far distance.
  10. Competently directed, and delivered with the expected emotional beats, Still Alice achieves its modest goals, but one wishes it had a grander vision.
  11. Kill The Messenger hopes to solemnly lionize and exonerate Webb, but rarely does it reflect anything back to its audience other than reminding us how corrupt and unprincipled our system is.
  12. Certainly possesses a lot of energy, but it's never harnessed or focused effectively. As a buddy comedy, all four leads have done better, and you already know what those movies are, and this one doesn't stand among them.
  13. Overall, Chandrasekhar's first tentative venture towards something slightly more sincere is undermined by, quite frankly, his irresistible urge to take the piss out of every sequence that might have been played even remotely seriously.
  14. A pastiche of almost too many movies to count as a remake of just one, Total Recall is mindless, middling fare that fails to utilize – much less expand – the provocative concepts at the core of its iconic 1990 predecessor.
  15. Unfocused, and feeling mostly incomplete in even the most basic standards of documentary film, This Time unfortunately reflects an amateur approach that is felt not just in the filmmaking but in the very people trying to bring The Sweet Inspirations, Pat Hodges and Bobby Belfry to bigger recognition.
  16. There are pleasures to be found in "Chicken with Plums" to be certain, but we'd hope for something a little more satisfying next time out from the directing team.
  17. Here everything feels limp – simultaneously over and undercooked. It doesn't leave much of an impression and every scare seems to be either some lame jump scare or a fright inflicted by the shrill score.
  18. Temple and Panabaker are quite good in their lead roles, to the point where you start to hate the fact that the movie's thesis thrives on the girls being damned if they do, and damned if they don't.
  19. Too long by at least a half hour, and both dull and repetitive as it goes on, Cloud Atlas reaches for envelope-pushing storytelling but never delivers on its promise.
  20. It's worth saying that the final moments of Smiley are a grade above the by-the-numbers film that unfolded prior, but it's too little too late.
  21. It's an audaciously broad topic, and at less than eighty minutes, you wonder what exactly Split gives us that we haven't received from countless other political documentaries.
  22. Sorrentino's very title suggests someone who doesn't have the most well-defined sense of where they ultimately want to wind up; as goes the Talking Heads song, so goes the movie.
  23. Citadel, which won the Midnight award at the fest, further explores the fears and anxieties of urban Britain (and Ireland), and the results are sometimes scary, sometimes silly, and always politically questionable.
  24. The film may help "Downton Abbey" fanatics looking to kill a little time in that era but holds little cinematic appeal for the rest of us.
  25. It's not particularly funny or moving and it's terribly self-indulgent. Flamboyance and cartoonishness rule, there's hardly a moment of genuine emotion, and most overtures in that direction are superficial. As a picture ostensibly about love, revenge and the ugliness of slavery, Django Unchained has almost zero subtext and is a largely soulless bloodbath, in which the history of pain and retribution is coupled carelessly with a cool soundtrack and some verbose dialogue. Though it might just entertain the sh.t out of the less discerning.
  26. Like another Tribeca hit given a quiet release, last year's "Puncture," Any Day Now feels the need to take its compelling true story and stack the deck in favor of what we know is the outcome, presenting all obstacles as engineered by sneering, callous villains with disdain for those who would trumpet a more progressive cause.
  27. Overall, there is a fundamental lack of excitement or energy; it's a 95-minute movie that feels twice as long as "The Hobbit."
  28. There are filmmakers who are able to weave social commentary through the arena of big budget entertainment, without having it come across as lopsided or boring; Allen Hughes, it turns out, is not one of these filmmakers.
  29. There is a fine line between meeting an audience halfway and witholding enough without falling into self-indulgence, but Kiarostami can't make that balance here. Enigmatic and dull to a maddening degree, Like Someone In Love finds Kiarostami spinning his wheels.
  30. Unfortunately, Would You Rather is content with being a risible borderline torture porn horror film.

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