The Playlist's Scores

  • Movies
For 1,346 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 1.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 12:08 East of Bucharest
Lowest review score: 0 The Campaign
Score distribution:
1,346 movie reviews
  1. 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.
  2. It seems like a statement that Il Futuro presents simple but intriguing conflicts that nonetheless resolve anti-climactically, denying us an organic end.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  8. Deeply human, full of dread simmering just beneath the surface and quietly unsettling.
  9. 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.
  10. 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.
  11. Avoiding easy answers and engaging on various levels, Policeman is exactly the kind of film that makes one excited about the art again.
  12. It’s an American film that talks about race with strong feeling, common sense and good humor; it’s an indie screenwriting-directing debut as polished as it is provocative; it’s a satire that also lets its characters be people; it’s a showcase of clever craft and direction as well as whip-smart comedic writing brought to life by a dedicated, charismatic cast that also conveys real ideas and emotion.
  13. The Crash Reel can never be accused of being dry or boring, but Walker brings an energetic style that also complements its subject.
  14. 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.
  15. 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.
  16. It’s an offbeat, fun, and frequently very funny film, lifted out of disposability by some wonderfully rich production design, music cuts and photography, and by the cherishable performances of the leads.
  17. 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.
  18. In truth, the deeply absorbing and thematically rich ‘Apes’ sequel is more akin to a drama than an action film, but it's one that still satisfies the desires and demands of big, blockbuster filmmaking.
  19. 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.
  20. 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.
  21. It’s an impressive feat of unfolding this story, though there are a few moments where it loses the narrative thrust and momentum along the way. Still, it’s a remarkable portrait not only of this particular man, but of a culture in a transitioning moment: adapting to new influences and growing older, but continuing, always, to remember.
  22. Once it becomes clear that this is no mere murder mystery, and the bizarre turns into the ludicrous and into the depraved, Dumont’s analysis of life’s toughest questions (reaching for an understanding of the very essence of evil) as told through the simplest of ways becomes tremendously captivating. And it’s worth noting, again, just how laugh-out-loud funny this is.
  23. 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.
  24. Drive works as a great demonstration of how, when there's true talent behind the camera, entertainment and art are not enemies but allies.
  25. Enough Said is another tremendously well crafted, intelligent dramedy about people, with complicated lives, who make bad decisions trying to do the right thing.
  26. The actions and events are naked to our eyes, not couched in reasons and justifications, not softened by explanations, by words.
  27. There is no shading, there is no ambiguity, and while there are observations and stilted epithets aplenty, there is precious little wisdom.
  28. The combination of compelling subject with an exciting and expert approach to documentary form achieves that transcendence you hope for in this genre: a melding of subject and text that is its own beast but also perfectly reflect each other.
  29. It’s part raw and ugly character study, part ensemble comedy, but it’s that first element that is so striking, bold and unnerving, while the latter element is sometimes amusing, but familiar.
  30. A fascinating story told with deep insight, Little Hope Was Arson finds that both fire and forgiveness burn in different ways.

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