The Playlist's Scores

  • Movies
For 1,185 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 1.4 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:
1,185 movie reviews
  1. 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.
  2. This rock doc rewrites punk history while telling an emotional story about an artist’s spirit and his faithful family.
    • 77 Metascore
    • 83 Critic Score
    Headland doesn’t entirely subvert the romantic comedy genre here, but she certainly has fun twisting up some of its most obvious tropes for a little added pizzazz and some major laughs.
  3. While it's messily put together, with a sprawling and at times unfocused narrative that often gets in the way of itself, it doesn't deny the power of the facts Jarecki brings to bear on a misguided program that hasn't stopped the demand for drugs, that has disenfranchised the poor and minorities, and created an expensive prison industry.
  4. The picture is a triumph: it's arguably Garland’s tightest and most fascinating screenplay to date, brought to life with meticulous filmmaking and sensational performances. It's the first great film of 2015.
  5. The Immigrant is contained, restrained, thoughtful filmmaking that satisfies on nearly every level, except for the desire for a little chaos.
  6. It subtly makes the connection between the simple equation that investment in our children will give dividends that go far beyond any sort of number on a balance sheet.
  7. Code Black manages to encapsulate so much of what is wrong with our health care system, but also to point out what’s right, and to posit an attitude shift not just about health care but about how we as a society treat those around us who are in pain or suffering. A heartbreaking but hopeful message within this important film.
  8. The mileage will vary depending on how you've felt about the progression of the series so far, but if you're even mildly curious to find out what awaits the outrageous and exasperating Henry Fool, Ned Rifle is worth making some time for.
  9. Kumiko The Treasure Hunter is a striking film, a bizarre joy and a beautiful delight.
  10. Alvarez’s clinical but deeply engrossing execution of the drama is mesmerizing in its directness.
  11. Washington’s performance is one of the best of the year, a high-wire act that is careful not to dip into survivalist caricature.
  12. A dark, but spirited fable about the pitilessness of the West, the meaning of home on the range and the worthwhile qualities of wicked, seemingly irredeemable men, “Slow West” is a terrific little parable, and a strong debut by John Maclean worth treasuring.
  13. There is a fine line between meeting an audience halfway and witholding enough without falling into self-indulgence, but Kiarostami can't make that balance here. Enigmatic and dull to a maddening degree, Like Someone In Love finds Kiarostami spinning his wheels.
  14. It's certainly a crowd-pleaser...and something close to a triumph, if not an unqualified one.
  15. There’s so much to like about the film, and it’s a mark of Assayas’ skill that it's a hugely engaging watch despite the blankness of the characters.
  16. Nancy, Please begins as a deadpan slacker comedy with existentialist undertones, and Will Rogers' Paul is a ball of unsettled twentysomething nerves. It's a subtle shift in Semans' first feature, both in tempo and in Rogers' performance, that we don't realize the film taking on a slightly more diabolical undertone.
  17. While a film of great craft, strongly performed by the cast across the board, and particulary by the lead, newcomer Saskia Rosendahl, Lore never lets the audience in close enough for it to be a truly embraceable picture.
  18. With a dry and witty tone, it’s an amicable and appealing piece on love, both the romantic and family kind, and the ways in which it can change, evolve, and grow.
  19. While zooming in and out of Burre’s life, Greene foregoes true insight in favor of a stylistic approach, using the kind of cinematic language that’s often reserved for fiction and feature films, and the result leaves you admiring Actress greatly, but from a distance.
  20. The entire film could start to feel like a feature-length justification, but Darius manages to sidestep that path by never letting himself off the hook.
  21. It Felt Like Love, marks the arrival of a new crop of talent to watch, behind the camera and in front.
  22. An engaging and initially very promising drama about alcoholism, redemption and forgiveness that grows uneven and long-winded as it progresses.
  23. For anyone with even a halfway developed sense of justice The Hunt may prove stressful, frustrating, even enraging, but it’s also an unbelievably effective watch, that, if nothing else signals an undeniable return to form for Vinterberg, and yet another blistering performance from Mikkelsen. See it, if only for the debates it will cause afterward.
  24. 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.
  25. The good certainly outweighs the uneven. Dope is both intelligent and crowd-pleasing.
  26. As the moving, sad, riotously humorous documentary The Dog explains, the film only captured traces of Wojtowicz’s personality, and only told bits of his story.
  27. 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.
  28. The ensemble is perfectly cast (a rarity for this genre) which helps to make the first half a delightful slow burn instead of a check-your-watch-until-the-carnage-starts.
  29. 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.

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