The Playlist's Scores

  • Movies
For 1,997 reviews, this publication has graded:
  • 56% higher than the average critic
  • 2% same as the average critic
  • 42% 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: 64
Highest review score: 100 Drive
Lowest review score: 0 Before I Go to Sleep
Score distribution:
1997 movie reviews
  1. Ida
    If it does suffer slightly from an overall lack of urgency that will mean those looking for a more directly emotive experience may find it hard to engage with, the more patient viewer has rewards in store that are rich and rare indeed.
  2. With Only Yesterday, Takahata not only succeeds in transmitting how years can flash by, but also the way that passage of time makes clearer the moments that define our character, and go on to influence how we choose to live later.
  3. The overwhelming force of The 13th is such that as the movie moves into its third act it becomes more and more heartbreaking in all its countless examples of injustice and abuse.
  4. Her
    It’s an incredibly melancholy, intimate and yet often hilarious look at relationships and connection that provides a surprisingly great deal of insight into the human condition. It’s both sweet and considered, as well as observant about our fears, masks and growing alienation.
  5. Boynton's film is refreshingly complex.
  6. Come for the blistering, full-tilt action, stay for the thought-provoking consideration of the post-apocalypse.
  7. Although movies like “Goodfellas” are indisputable forebears for Russell’s decadent tale of crime and punishment, the filmmaker distinguishes himself by creating a complex and compelling web of manipulation between the characters that eventually supersedes any of their scheming or con artistry.
  8. An unfeasibly charming film full of little wisdoms and quiet comforts where we might expect to find provocations, its only deception is that it is so much richer than it seems at first glance.
  9. Presenting a terrifying view of a hidden holocaust and a moral apocalypse in which the most basic humanities have become twisted beyond recognition, The Act of Killing is a towering achievement in filmmaking, documentary or otherwise.
  10. The Overnighters is starkly bleak and devastatingly humane, and an indelible American documentary.
  11. A Ghost Story has the structure and rhythm of a musical suite, with Lowry working variations on the same themes, the same characters, and the same location. The result can be lyrical and poetic, or more naturalistic and minimalist. In both cases, A Ghost Story is absolutely mesmerizing, with an anything-goes quality that’s endlessly fascinating.
  12. It's a remarkably gorgeous piece of work.
  13. Though it has a few elements of its construction that might be questionable, it's mostly a powerful, thoughtful, and visually striking picture.
  14. perhaps the greatest achievement is in how brilliantly the film balances the trademark Dardennes social conscience with a conceit that plays out almost like a ticking-clock thriller, as well as being a deeply felt character study.
  15. Wiseman's film is the most nourishing example of cinematic brain food you'll have all year.
  16. Petzold distills a familiar atmosphere to create a work veiled in vibrant, cohesive, sensitively stimulating power.
  17. Somehow one of the effects of our current state of topsy-turviness has been to bring us closer into alignment with Kaurismäki’s skewed vision; if his movies are all, in their way, like pictures hanging crooked on a wall, with The Other Side of Hope we don’t have to tilt our heads anymore: the whole house has moved around us.
  18. In Western, the filmmaking philosophy remains the same, but the subject is new and different, and the storytelling is deeper, nuanced, and honed by experience.
  19. Selma is vital correspondence, filmmaking lived on the streets where brutal facts were ignored then reported, and now snatched back from history to sustain a spirit few films can or will possess. It is stunning humanistic cinema on a mainstream scale... It has inventiveness, urgency, humor, and most of all emotion that draws effortless parallels rather than leaving its lesson up on the screen.
  20. The list of the film’s transgressions against the culturally acceptable is almost gratuitously long. But the spine of self-aware intelligence that runs through even its most grotesque, exploitative, and offensive twists, and the basically incredible, irreplaceable central performance from Isabelle Huppert, make this queasily hilarious mass of contradictions just about cohere.
  21. Nielsson’s documentary portrait is a tragic look at the broken political process in Zimbabwe.
  22. The quest to be the best is a familiar film story, but if director-writer Chazelle has achieved anything here, it’s a deeply and richly different take on that journey—not only examining the cost of struggle but the reward of it, showing both what it takes to be great and what happens when you don’t have it.
  23. 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.
  24. As off-kilter affecting as we found its nostalgia for a world of charm and dash that really only ever existed in the movies, and as terrific as almost all of the performances are, as a whole package it fell just slightly short of the promise of its parts.
  25. The overwriting of every single discussion smacks less of realistic debate than of a writer/director in the throes of a fit of didacticism who simply never trusts his audience to get his meaning without it being iterated and reiterated to the point of white noise.
  26. Blue is the Warmest Color is a masterpiece of human warmth, empathy and generosity, because in a mere three hours, it gives you a whole new life to have lived.
  27. This is a movie primarily concerned with numbers and the way that information is fed, processed, and acted upon. But it plays like the greatest paranoid thriller since "All the President's Men."
  28. Hell or High Water might walk over familiar ground with second-hand boots in terms of character development and structural beats, but it does so with great personality and zero pretension of wanting to be anything more.
  29. Kaufman and fellow director Duke Johnson strike the right balance here, deftly mixing spiritual crisis and despondency with moments of painful awkwardness and biting hilarity.
  30. It’s borderline miraculous.

Top Trailers