The Playlist's Scores

  • Movies
For 1,315 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:
1,315 movie reviews
  1. 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.
  2. 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.
  3. Alvarez’s clinical but deeply engrossing execution of the drama is mesmerizing in its directness.
  4. Washington’s performance is one of the best of the year, a high-wire act that is careful not to dip into survivalist caricature.
  5. At its heart, Raiders! is an underdog story, and as with any underdog story, it becomes even more compelling as the stakes are continually raised against our heroes.
  6. 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.
  7. It's certainly a crowd-pleaser...and something close to a triumph, if not an unqualified one.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. Perversely episodic, strangely empty, and unfolding in a series of beautifully composed but static wide shots (giving us the unusual experience of literally yearning for a close-up), the film is a test of patience.
  13. 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.
  14. 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.
  15. It Felt Like Love, marks the arrival of a new crop of talent to watch, behind the camera and in front.
  16. An engaging and initially very promising drama about alcoholism, redemption and forgiveness that grows uneven and long-winded as it progresses.
  17. 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.
  18. 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.
  19. 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.
  20. 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.
  21. 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.
  22. Trenchantly reflecting on the mishandling of success, blind ambition, idolatry, hero worship and the complex and competitive nature of artists in romantic relationships, Listen Up Philip is brilliantly chock-a-block with resonant observations.
  23. While a truly original comedy, While We're Young is the rare one that also laces rich thematic elements with wonderfully drawn characters to create a picture that's as genuinely hilarious as it is thoughtful about how hopes, ambitions, dreams and ideals of personal and creative accomplishments that ebb and flow across decades.
  24. 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.
  25. Wild never really earns its hard-fought struggle for redemption and personal reinvention.
  26. Though there's an admirable sense of messiness to the scenes of family life, the screenplay itself is rather neat: one has a fairly solid sense of how things are going to play out from the early stages, and for the most part that's how it goes, ticking off a checklist of rather familiar beats along the way.
  27. Obvious Child is well-made and wickedly bold, but I still found myself wishing for a little more subtle maturity on the part of its characters and creators.
  28. 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.
  29. After meandering for a while, the story kicks into gear in the third act, with a couple of legitimately shocking and well-executed developments that do pack a punch missing elsewhere in the film.
    • 76 Metascore
    • 83 Critic Score
    Bernal continues to put in one good performance after another, and his turn here is no exception.

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