The Playlist's Scores

  • Movies
For 2,208 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 1.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Cutie and the Boxer
Lowest review score: 0 The Incredible Burt Wonderstone
Score distribution:
2208 movie reviews
  1. 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.
  2. If there’s any criticism to be levied, it’s just that we wanted to see more dance, which can’t quite be fully captured on film, only in person. Still, capturing Streb’s artistry, inspiration and thought processes behind her work makes it more than worthwhile.
  3. Delightfully twisted, Thirst Street takes the ideas of desire, romantic longing and desperation — desperation as the world’s worst cologne — and bathes it in a sheen of frosty colors, genuine vulnerability and sardonic unkindness.
  4. Michell’s handling of the relationship between the two is touching in how little judgment he passes.
  5. 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.
  6. What immediately comes to the forefront is that McDonagh has choreographed an almost impossible feat of a brutally dark comedy that, thanks to both Rockwell and McDormand, elicits an emotional response you simply don’t see coming.
  7. Somehow one of the effects of our current state of topsy-turviness has been to bring us closer into alignment with Kaurismäki’s skewed vision; if his movies are all, in their way, like pictures hanging crooked on a wall, with The Other Side of Hope we don’t have to tilt our heads anymore: the whole house has moved around us.
  8. With its rock doc trappings, it’s impossible to ignore that Mistaken For Strangers delivers on that front, with thrilling and candid on-stage footage that allows the band’s music to come alive: if you weren’t a fan before, you will be after the film.
  9. Junun is Paul Thomas Anderson at his most laid back. Not bothering with instructive context, the picture finds him absorbing the energy of the musicians through their instruments and personas. A scrappy film that never feels precious about itself or its subject matter.
  10. The Salt of The Earth is a mesmeric and unforgettable look at the world and it sufferings through the eyes of a remarkably insightful and honorable artist.
  11. An excoriating, gripping, intricately plotted morality play, Mungiu’s film is less linear, more circular or spiral-shaped than his previous Cannes titles...but it is no less rigorous and possibly even more eviscerating and critical of Romanian society, because it offers its critique across such a broad canvas.
  12. Heineman, in placing himself in such danger, has managed to create a remarkable and distinctive film that takes on a difficult issue that cannot be so conveniently remedied or ignored.
  13. It's one of the most unexpectedly enjoyable cinematic experiences of the year, even if you couldn't pick a Metallica track out of some hypothetical never-ending playlist.
  14. Bone Tomahawk is a proper Western, a proper horror movie, and by combining the two, becomes something else entirely, and proves hugely enjoyable for it.
  15. It is indulgent in its length and relative plotlessness, though there’s no point at which the bravado of Arnold’s filmmaking, Lane’s riveting performance or Ryan’s stunning Polaroid-shaped lensing ever flag.
  16. Aptly named and drolly executed, leading to a transcendently funny, endearing and unexpected finale, The Treasure confirms Corneliu Porumboiu as the joker in the Romanian New Wave pack.
  17. The Nice Guys, which the screenwriter also directed, is the best of Black’s films. It is eccentrically, sometimes broadly funny, with top-notch performances from Crowe and Gosling and a pitch-perfect sense of timing to help smooth over some of the script’s fault lines and blind spots.
  18. It avoids the trap of simply being a celebrity vehicle about celebrity, by displaying a surprising heart beneath its very funny surface.
  19. Floyd Norman: An Animated Life is as joyful as its subject, and is heartily recommended to every artist who might have lost their way and are looking for some inspiration.
  20. That a documentary about economics could be so personally emotional and affecting is remarkable. And to learn from Reich in this film, as his students at Berkeley do, is a treat and a privilege.
  21. Overall a triumphantly idiosyncratic film with smarts and visceral impact in equal measure.
  22. It deserves to be shown to teenagers, not necessarily as a warning, but at least as an eye-opener: This is how it works, kids. And it ain't pretty.
  23. Utilizing underseen subjects, [Baker] captures their world in a thoughtful and artful way, and it also happens to be a damn fun ride.
  24. It's a new vampire classic, one to treasure endlessly.
  25. The film doesn't reinvent the wheel: it is, ultimately, a middle-class-white-boy coming-of-age tale of the kind that the cinema of France, and elsewhere, has never been lacking. But it's written, shot, cut and performed with such palpable joy, intelligence and warmth that it ends up feeling entirely fresh.
  26. An exciting, splattery, funny genre movie that somehow never once feels disposable.
  27. 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.
  28. The main thing you’ll feel from Cars 3 is joy; this is Pixar at its most radiant and playful.
    • 69 Metascore
    • 91 Critic Score
    Berg’s approach is blunt and effective. With Patriots Day, he’s made an action film that grabs you by the throat and doesn’t let up.
  29. Lindon's performance is so perfectly judged, so inspiring of an avalanche of sympathy and empathy without ever seeking it out, that we are on Thierry's side immediately, feeling every slight and every instance of condescension perhaps even more strongly than he does himself.

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