The Playlist's Scores

  • Movies
For 1,114 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 0.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Crime After Crime
Lowest review score: 0 Grace of Monaco
Score distribution:
1,114 movie reviews
  1. While it's great to look at, Reality is an empty shell. A feature length examination on the artifice of reality programming, Garrone's film itself is superficial and lacking the same depth of artistry and ideas he finds absent on TV.
    • 60 Metascore
    • 42 Critic Score
    As every sub plot, reveal and character… err, caricature that is, gets stacked on top of each other, the more inevitable it is that the whole thing will come tumbling down. And while Love is All You Need is by no means a disaster, it simply can’t support all that weight.
  2. The movie is so apolitical; there could have been a nice slant to the movie, about how both sides of the aisle could get together to kick out these Korean terrorists. Instead, it remains totally void.
  3. Though given two committed turns by a tremendously sexy and vicious Arterton and a solid-as-always Ronan, Byzantium often feels as gray and lifeless as the corpses in the film.
  4. Burshtein has devoted most of the last 20 years teaching and making film in that world, but here makes her international feature debut with a curious comedy-drama that has its strengths, but ultimately proves somewhat disappointing.
  5. It would be unfair and an exaggeration to say 'Part III' ends with a whimper, as there are a few moments to savor, but there's hardly a climatic bang and, sadly, absolutely nothing epic and explosive about this rather tepid and forgettable trilogy closer.
  6. It’s handsome, stately and deathly dull.
  7. Ultimately, American Mary simply reveals itself as a film with little on its mind, content to scare rubberneckers into contemplating the backstory of the more outlandish body manipulation jobs they’ve seen in public. A documentary would have sufficed.
  8. Never quite as deep or probing as it thinks it is, Thanks For Sharing is an unsatisfying tease.
  9. By the time the origin movie stuff is wrapped up and the audience finally gets to see The Lone Ranger and Tonto on their first of their legendary deeds, it's far too late in the movie, particularly if your patience has already been drained by the simple yet over-elaborately staged plot, that struggles to be compelling.
  10. You just wish that the kind of attention lavished on the visuals of Despicable Me 2 could have carried over to its storytelling. Despicable Me 2 lacks emotion and depth, and all the minions in the world can't make up for that.
  11. If your basic movie needs demand a little bit more -- logical premises; interesting, marginally original characters; dialogue that doesn’t reek of throaty, aspirational monologue after monologue -- Pacific Rim will leave you feeling hollow and wanting.
  12. Director Mark Steven Johnson can’t seem to balance a tone here, which is a pity because for the most part he stands back and lets the two stars go at each other.
  13. The Wolverine wants to have it both ways: a dark character story and an action-packed superhero film. But it never reconciles the two notes, and thus becomes more and more atonal as it wobbles towards its symphonically jarring ending.
  14. There’s nothing about 2 Guns that doesn’t feel prefab, like someone poured a packet of Insta-Movie into a glass of water.
  15. When the final moment comes and it's revealed how the children died, it's less of a surprise than a shrug. Drama robbed of suspense is just dull.
  16. We're The Millers isn't really a bad movie, so much as its inoffensively and instantly forgettable.
  17. The little action in 'Percy Jackson' wouldn’t be out-of-place in a superhero film, which is to say it’s mostly functional, and sometimes quite diverting.
  18. The bland, boring Paranoia does little to distinguish itself and isn’t good (or even enjoyably bad enough) to be passable even as Saturday afternoon cable fodder.
  19. A crude sketch of a film that could barely withstand a short-form, but instead has been stretched to agonizing feature length by directors Robert Wilson and Jason Lapeyre.
  20. It's a film that plays equally to both sides of the political spectrum, and it feels like pandering either way.
  21. August: Osage County is a film of big, wild gestures, plate smashing, screaming and tears, but not nuance, and it all has the effect of leaving one deadened, not moved.
  22. A lack of courage on behalf of the filmmakers to take any position renders the film narratively limp.
  23. A decently-shot, but otherwise largely unremarkable horror movie.
  24. The message, like the filmmaking, seems fuzzy and unfocused.
  25. Part escapist action-adventure, part would-be exhilarating quest of self-discovery, The Secret Life Of Walter Mitty isn’t so much a mess because it wants to be everything at once, but because it employs hackneyed and mawkish methods to achieve a false sense of joyfulness.
  26. Forgetting the Girl ends up building towards a massive revelation, one that suddenly gives up the ghost and allows the film to define itself as one specific genre. Not romance or thriller or comedy, mind you, but that type of indie that plays peek-a-boo with its topics for long enough before springing something that allows the final twenty minutes to be occupied by bargain-basement pop psychology.
  27. It’s as if “The Man Of Steel” was ninety minutes of supervillians shit-talking Superman, then casually sticking kryptonite in his face without even pretending it’s a surprise.
  28. There are shades of “Lars & the Real Girl” here, but where that film skewed towards dark comedy (which helped temper its outlandish premise), "Emanuel" is almost completely humorless.
  29. While Lee edges in enough unique elements to argue a second look at the brutal revenge tale, his lean, blackly comic result is transcendent only in fits and starts, stripping away much of its thematic and emotional heft into one of the most frustratingly accomplished disappointments this year.

Top Trailers