The Playlist's Scores

  • Movies
For 778 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 1.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Smashed
Lowest review score: 0 I, Frankenstein
Score distribution:
778 movie reviews
  1. Ultimately, This Ain't California is a movie powered by nostalgia, a propulsive kind of dreamy reflection to a time and place that may not have existed with events that might not have actually happened, but have all the reality of a life that was truly lived.
  2. Despite a lack of access to Manning and Assange, We Steal Secrets is a vital document of a pivotal moment in world history that we’re still experiencing as we speak.
  3. Batra's film is ultimately less about love than about the vulnerability relationships place us in emotionally, and courage required to move past pain, and experience life again after we've been hurt.
  4. Buzzard is a quiet, introspective film, but it trumps all generic blockbusters in that it very much is a roller coaster ride, one that thrills, upsets, and makes one queasy, all in surprising ways.
  5. 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.
    • 76 Metascore
    • 83 Critic Score
    Bernal continues to put in one good performance after another, and his turn here is no exception.
  6. Mud
    Mud is as unmoving as it is because it doesn’t aspire to be anything other than a competent anti-fairy tale in which the paint-by-number morals are enforced by equally obvious main protagonists.
  7. Dead Man’s Burden (the directorial debut of Jared Moshé) demonstrates just why film is important, simply by being beautiful. But beyond that, it’s also a moody, violent, classic, yet modern Western.
  8. To his credit (and without affectation), Gondry doesn’t cloak the fact that he is often perplexed by his subject. Because of his confusion though, we are able to learn quite a lot.
  9. A vibrant and vital tribute to a piece of recording and rock history that could have been lost to the ether, and Grohl packages the story of this little studio with a detailed celebration of the craft and skill necessary to this kind of recording, all with a killer soundtrack (which should go without saying).
  10. Swims forward with tenacious shark-like energy and therefore is sleek, efficient and utterly engaging.
  11. Rush is a pretty thrilling piece of pop entertainment. It's excitingly assembled and moves like a bullet, highly engaging and nerve-wracking when it needs to be and light on its feet elsewhere.
  12. While Muscle Shoals and its presentation doesn't reinvent the wheel—this is your standard talking heads documentary—the treasure trove of stills and found footage makes for a compelling and effortlessly watchable film that even the casual music fan should find themselves totally engrossed in.
  13. For all its minor faults of under-developed characters and disjointed scenes, “Honey” is worth seeing not only for the compelling performances from the two leads but for the incredibly effective use of light, reminding us just how much other films take it for granted.
  14. An enigmatic and perhaps occasionally overly deferential documentary about one of the all-time great character actors, Sophie Huber’s Harry Dean Stanton: Partly Fiction, is slow out of the gate, but gently, ever so gently, builds to a thoughtful portrait of a thoughtful man.
  15. [Fiennes] has rarely been better than he is as the 19th century’s most celebrated novelist, with his chops on screen just about matched by what he’s done behind.
  16. The Punk Singer brings dimension and real shape to a band, era and scene that is often compartmentalized into one or two categories. That it'll get you wanting to start your own musical rebellion is a bonus.
  17. After Tiller is not an important film just because of its political and cultural relevance, but because of its humane and compassionate approach to telling the stories of these doctors, their work and the women that they seek to help.
    • 75 Metascore
    • 91 Critic Score
    Catching Fire is a monumental achievement, a massively entertaining crowd-pleaser that is thought-provoking and personally inspiring in all of the ways that it aspires to be.
  18. As an sensory experience, 'WOWS' is mostly a terrifically visceral one, a full throttle fast and furious bacchanalia of drug-fueled madness. But as a scathing indictment of American rapacity, it isn't particularly deep or resonant beyond the exterior.
  19. A very impressive film, one that can only increase the esteem in which both Knight and Hardy are held.
  20. The Thieves is less interested in the characters than it is the elaborate stunts and gimmicks.
  21. Mezmerizing in fits and starts, Graceland doesn't coalesce into the "important" thriller it seeks to be.
  22. The picture's conspiratorial late-night tone and fleshy after hours luridness was practically built for watching at night, when our parents think we've gone off to bed (think '80s films directed by folks like Adrian Lyne).
  23. The cumulative effect is dramatically effective to the point of being soul-crushing.
  24. It says something, then, that Burton's best, most enjoyable, and most emotionally resonate film in years is actually an adaptation of one of his very first projects: Frankenweenie.
  25. Coppola's screenplay neatly restructures Franco's source material into a deceptively tight narrative, and mostly proves to be raw, authentic and often very funny.
  26. The endlessly surprising, often riotously funny Computer Chess basks in the details of a group of men who, at a key point in history, are asking themselves not only if they can accomplish something, but why, and what it means to their current generation.
  27. While far from perfect, Welcome To Pine Hill works more often than it doesn’t and is an intimate and existential character study of a man out of place with his past, himself, and his surroundings, and the push and pull of former and future worlds beckoning him.
  28. 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.

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