The Playlist's Scores

  • Movies
For 1,245 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 point higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Last Days in Vietnam
Lowest review score: 0 The Paperboy
Score distribution:
1,245 movie reviews
  1. The film is generally undramatic. However, that’s hardly a criticism — while Closed Curtain digs deep into the psyche of an artist, it also is full of the ordinary, organic life moments that have populated Panahi's work since the beginning.
  2. 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.
  3. 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.
  4. 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.
  5. Lafleur maintains a bouncy, consistently funny tone that you'd describe as featherlight, were there not real weight grounding it all. It's a near-miraculous trick, and evidence of the immense talent on display here: he has a real talent for making comedy work visually, and as you might expect from a former editor, a sense not just for landing a joke, but for creating a unique and distinctive rhythm.
  6. Big, wonderfully oddball, sometimes confounding and beautiful, Inherent Vice supplies good dosages of stoner giggles. But its doobage is potent and reflects some heavy ideas you’ll need to unpack and meditate on for a long while.
  7. The supporting cast all do excellent work too, but this is Eric’s story, and so it’s O’Connell’s film. His performance is a revelation.
  8. 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.
  9. Digging For Fire is low-lit and pitched in a minor key, a quiet meditation on compromise, individuality, the loss of identity within a marriage, and the aftermath of disorientation that comes with having children and losing touch with your former life.
  10. '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.
  11. An enormously entertaining, crowd-pleasing winner from the director whose comedic edge has never been sharper.
  12. 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.
  13. Not only a searing look at Europe's painful involvement in participating, encouraging and backing regimes of oppression, Concerning Violence makes it clear that not much has changed in the fifty years since Fanon's powerful words were first printed.
  14. This isn’t a story of success and fortune, but a slice of life with a personal rhythm and a universal beat.
  15. This kind of vérité surrealism doesn’t come along very often, and the glorious oddness that Zurcher manages to infuse into even the most routinely domestic activities is really the gift the film keeps on giving.
  16. Overall a triumphantly idiosyncratic film with smarts and visceral impact in equal measure.
  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. Set to a rock-and-roll soundtrack, with titles featuring the bright colors Iris adores, Maysles' documentary is energetic and vibrant. Iris is the cinematic equivalent of a party, with its titular character as its host.
  21. While the experiment itself is fascinating, the approach taken by Almereyda in using distractingly peculiar storytelling techniques only succeed in distancing the audience from the film's inspiration.
  22. 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.
  23. At best a handful of transitory pleasures, Sils Maria threads through the peaks and valleys of weighty, interesting topics, but makes no lasting impression on them.
  24. 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.
  25. The filmmaking is admittedly functional rather than particularly artful, but you somewhat appreciate that Warchus is determined to distract you as little as possible from the story and characters.
  26. A Most Violent Year asks you to watch and listen and pay close attention; it also rewards that investment with subtle, real pleasures and provocations. Set in that messy place where crime, business, law and politics intersect — which is to say, the real world — A Most Violent Year is a slow-burn drama about what kinds of compromises you'll make in order to tell yourself you haven't compromised.
  27. While Gone Girl is certainly his slightest film to date, it's nonetheless undeniably gripping. Fincher clearly enjoys turning the screws and rounding the wild corners of the plot from the first frame.
  28. Avoiding easy answers and engaging on various levels, Policeman is exactly the kind of film that makes one excited about the art again.
  29. The Crash Reel can never be accused of being dry or boring, but Walker brings an energetic style that also complements its subject.
  30. Director Pavich, his first time at bat, has crafted an unalloyed pleasure of a documentary, especially for those of us who care about "Dune," about sci-fi, and about the value and power of creative passion.

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