The Playlist's Scores

  • Movies
For 782 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: 63
Highest review score: 100 The Dark Knight Rises
Lowest review score: 0 The Campaign
Score distribution:
782 movie reviews
  1. You don’t need to know the resume of Maribel Verdú to know that the “Y Tu Mama Tambien” star is this film’s meal ticket. With an equal division of screentime with her co-star, Verdú’s ferocious sexuality projects that she was meant to become the fairest of them all by sheer force of will.
  2. Guiraudie creates an ambiance of eerie atmospherics that is at once crisp and observant, and oddly dreamlike, or nightmarish.
  3. One of the best films of the year.
  4. The filmmaking here is almost impossibly well-realized, right down to the evocative sound design, adding up to an fairly unforgettable experience.
  5. The experience of Leviathan is wholly singular, without context, enveloping and immersive. In some ways, it might very well be the most terrifying picture of the year.
    • 81 Metascore
    • 100 Critic Score
    Sister is as bleak and as beautiful as its snowy, mountainous setting.
  6. 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.
  7. Best of all is the bad guy. Javier Bardem was always a tantalizing choice to play a Bond villain, and his Silva is a terrific creation, and certainly the most memorable villain in the series in decades.
  8. Gimme The Loot involves drug-dealing, constant foul language and vandalism, but Hickson and Washington, both attractive and charismatic enough to be stars, carry the film with an air of lightweight pleasure, keeping it light and bouncy.
  9. After years of being a long-lost gem, Cousin Jules has finally been found and is receiving its due as an innovative, meditative case study of rural life.
  10. You may not be able to figure it out, but that's part of the point of this sensually-directed, sensory-laden experiential (and experimental) piece of art that washes over you like a sonorous bath of beguiling visuals, ambient sounds and corporeal textures.
  11. As a film whose central theme emphasizes the dangers of living in the past, Wright, Pegg and Frost become fatally distracted by nostalgia, eventually paying too much homage to previous classics—especially their own—to create another film that deserves to stand alongside them.
  12. 'Never Sorry' feels borderline unfinished, as it never draws that line between Ai Weiwei and the generation of successors to his throne that he has inspired. Perhaps it doesn't have to. Perhaps you're already one of them.
  13. An enormously entertaining, crowd-pleasing winner from the director whose comedic edge has never been sharper.
  14. It's a state-of-the-nation masterwork, a vitally important piece of work, and should be seen by as many people as possible.
  15. Inspirational, entertaining, and absolutely awards-caliber (from first-time director Karasawa), Elaine Stritch: Shoot Me offers up an indelible and rare experience in cinematic form—it’s simply an absolute treat to be able to spend this much intimate time with such a legendary lady.
  16. Avranas makes a claim to be considered among the top ranks of international filmmakers.
  17. Unique and at times profound, it's a reminder of how much Kubrick left for us to appreciate in his work, and how the greatest films always leave something more to be discovered with each viewing.
  18. Strickland' command of tone, aided by Oscar-winning "Slumdog Millionaire" editor Chris Dickens and, of course, sonic wizards Joakim Sundstrom and Steve Haywood, is masterful, jarring and discombobulating the viewer as Gilderoy's mind unravels.
  19. It seems like a statement that Il Futuro presents simple but intriguing conflicts that nonetheless resolve anti-climactically, denying us an organic end.
  20. Deceivingly complex, with an emotional center that peels away like an onion the longer it unfolds, this is a powerful effort from Mungiu in which love and faith are both different kinds of poison.
  21. Two things make The Sessions stand out. One is the level of acting...The other is that, while we all know sex is more than boobs and bits and butts, it also does include those things, and The Sessions does not hide behind euphemism or gentle cutaways, montages or misty light.
  22. The Crash Reel can never be accused of being dry or boring, but Walker brings an energetic style that also complements its subject.
  23. Enough Said is another tremendously well crafted, intelligent dramedy about people, with complicated lives, who make bad decisions trying to do the right thing.
  24. While the film is hysterical, its real strength lies in the way it is able to deal with an issue like sexism in the industry and work it out in a funny, honest and very real way.
  25. Deeply resonant and soulful, Life Of Pi, is a harrowing journey of survival, self-discovery and connection that both inspires and awes in equal measure.
  26. 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.
  27. 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.
  28. Drive works as a great demonstration of how, when there's true talent behind the camera, entertainment and art are not enemies but allies.
  29. Johannson turns out to be perfectly cast, being able to shift from blank alien mode to kittenish seduction without ever letting you see the switch being turned on or off.

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