The Playlist's Scores

  • Movies
For 2,031 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 1.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Birdman or (The Unexpected Virtue of Ignorance)
Lowest review score: 0 Winter's Tale
Score distribution:
2031 movie reviews
  1. An inspired, spellbinding, wonderfully-realized tale and a dazzling, visually/morally beautiful treat for the eyes, ears, heart and soul that richly weaves an all-inclusive journey based in culture, heritage, friendship and self-importance.
  2. "Pigeon" is a near-perfect cap to a near-perfect trilogy, a cavalcade of oddness, humor, banality and even horror.
  3. The film is a bullet train of laughs, gore, frights and folklore, making the two-and-a-half hour runtime feel like a couple of minutes. Blink and you might miss the whole thing.
  4. There is an eventual reckoning, but one wishes that Tan, at least for these moments, had allowed the film a few more inches of dramatic space.
  5. 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.
  6. The force of originality felt in the narrative is only matched by Bellocchio's execution.
  7. 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.
  8. Best of all is the bad guy. Javier Bardem was always a tantalizing choice to play a Bond villain, and his Silva is a terrific creation, and certainly the most memorable villain in the series in decades.
  9. 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.
    • 81 Metascore
    • 75 Critic Score
    By extension of the film's unending niceness, Waititi has made a movie mired in the middle-ground, a terrain marred by the absence of innovation.
  10. In Jackson Heights serves to remind us that our worlds are full of living things, and that, being the social creatures we are, we need each other.
  11. It's a resonant, atmospheric horror film that treats its genre and its audience with unusual respect, before escalating in its last moments to a brilliantly uncompromised finale.
  12. While you know where “God’s Own” is going most of the way Lee finds a way to breathe new life into it (to a point).
  13. Deeply human, full of dread simmering just beneath the surface and quietly unsettling.
  14. 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.
  15. 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.
  16. The real war of A War is waged within Claus, with Lindholm's camera trained mercilessly on Asbæk as he delivers yet another faultlessly committed performance, within a large ensemble in which every performer feels note-perfect.
  17. 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.
  18. Abrams makes big decisions and takes chances that command respect, especially in the very safe current tentpole film industry, but he doesn’t always quite sell them as he could. Still, as this new chapter props the franchise back up on sturdy legs, the Force seems to be in capable hands with a fresh forward direction.
  19. '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.
  20. Hong’s two-part structure in Right Now, Wrong Then, instead of just being a cute formal trick, reveals a character’s troubled inner life in fiendishly clever ways.
  21. An enormously entertaining, crowd-pleasing winner from the director whose comedic edge has never been sharper.
  22. 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.
  23. The Martian is the most purely enjoyable picture Scott has made in years. The streamlined narrative and the film’s consistent pacing, aided by a cast who don’t make a wrongfooted move, makes for easy popcorn entertainment.
  24. Mascaro’s film is an auspicious, original, and absorbing work that thrills with its look into this little-seen world and the dreamers that inhabit it.
  25. It isn't really about the people as much as about the pictures, and for once that does not seem to be a trade off that compromises the power of the resulting film at all.
  26. Elemental in construct and narrative, the picture breathes through the screen during Theeb's moments of quiet reflection at his surroundings and all the cruelty the vast, all-encompassing desert has to offer.
  27. From a purely objective standpoint, the film’s pacing sags at times, and its energy deflates, as is so often the case in trying to turn a chronological story into a cohesive narrative. But above all, Steve’s spirit soars.
  28. 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.
  29. 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.

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