The Playlist's Scores

  • Movies
For 2,209 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 12:08 East of Bucharest
Lowest review score: 0 Saving Lincoln
Score distribution:
2209 movie reviews
  1. While often hamstrung by genre conventions, particularly in the picture’s first half, Tom of Finland is a passable entry into the LGBT film canon and largely successful in selling the subcultural relevance of the eponymous artist’s beefcake drawings.
  2. This is ninety minutes of comic actors having a genial go at middle-of-the-road material. It doesn’t have any guts, but that doesn’t mean it isn’t funny.
  3. The pathos of this situation is clear, the stakes, which obviously involve genocide, justice and actual Nazis, are sky high and Plummer is completely extraordinary. So why on earth isn't Remember a better film?
  4. Lacking real zest or fun, it’s a middling effort, if one with ample heart and good intentions, that happens to star two actors who can rise to the occasion when necessary. Working together, it’s a shame that they serve both as this frustratingly mediocre comedy’s most reliable pleasure and most consistent disappointment.
  5. The tension really is beautifully ramped up in these early scenes and gets an audience well prepped to watch carnage unfold around people you've truly come to care about. Then, when the thing goes off, it's not with a bang but with something more like a a whimper.
    • 42 Metascore
    • 58 Critic Score
    While Corsicato treats his subject extremely gently – there’s barely a hint of criticism of Schnabel and interviewees tout how controversial his work is without explaining why – his almost idyllic portrayal of Schnabel at work and play nevertheless makes for a largely seductive and engaging experience. But the lack of context often derails the entertaining film.
  6. Baena’s debut just never really comes to life and unfortunately lacks the bite the best of the genre has to offer.
  7. Yes, it’s funny and charming and sometimes deeply amusing. But at the same time it lacks any kind of emotional resonance.
  8. Billy Lynn has its moments, but its critical and unexpected folly is that the cutting-edge technology diminishes the picture emotionally, its ungainly look trivializes the drama and indulges it with an undesirable air of superficiality.
  9. There is no shading, there is no ambiguity, and while there are observations and stilted epithets aplenty, there is precious little wisdom.
  10. Fleck and Boden certainly have strong filmmaking smarts. They understand restraint, have terrific observational eyes, and know how to coax honest performances out of actors. So it’s perhaps a shame that Mississippi Grind is ultimately too underwhelming to stake with any confidence.
  11. The more dramatic moments feel unanchored to the more farcical, and the humor ranges erratically from scatological to tender/heartwarming and back to cheap shots at slightly uncomfortable stereotypes. "Uneven" would be the kind way of putting it, but "messy" is probably nearer to the truth.
    • 40 Metascore
    • 58 Critic Score
    Despite having a lead that can fend for herself, and a fun ensemble of co-stars, In the Blood runs dry.
  12. Cohen’s willingness to do, or say, anything in order to elicit a chuckle at least somewhat salvages The Brothers Grimsby — right up to a riotously nasty climactic gag shoved down the throat of Donald Trump.
  13. All in all, Earth to Echo is passable family entertainment, neither unforgettable nor particularly bad.
  14. Chris Farley deserves a film that can see him for his gifts and his flaws. So, while I Am Chris Farley is an interesting portrait of a comedian, here’s to holding out for something more.
  15. One should applaud Diesel and Caruso for breathing unexpected energy into what could’ve been another lame, uninspired continuation. It’s wild, loud and totally out of control, and that’s periodically a pretty good thing.
  16. When Lotz is not onscreen, Stephens is miserable company. But James does reveal a deep fascination with the robotics that suggests the threadbare story was a chance for him to explore the very real advances in artificial intelligence.
  17. If nothing else, Reybaud’s debut flaunts his knack for casting, particularly with the lead performance by Pascal Cervo.
  18. Song One is well intentioned, well-shot and has its musical heart in the right place, but it often feels incredibly familiar, and the more contrived, credulity-straining moments don’t help.
    • 59 Metascore
    • 58 Critic Score
    Not every joke lands and it’s not as consistently funny as it could have been, but at its best, The Final Girls evokes the offbeat silliness of David Wain’s parody films like “Wet Hot American Summer” and “They Came Together."
  19. As compelling as R100 is in spurts, it's ultimately an exercise in excessiveness that only a niche audience will be able to fully stomach.
  20. Bad Milo! is ultimately a fairly pedestrian film, but in those moments where Milo takes action, if you squint, there’s just a little bit of that old-fashioned movie magic.
  21. It's not the most complex WWII movie you'll see, but there's no denying the blunt intensity of Fury, and even if it doesn't sustain, Ayer commits to staring straight into hellish eye of war and bringing audiences along to witness every gruesome detail.
    • 53 Metascore
    • 58 Critic Score
    De Palma’s heart ultimately doesn’t feel fully in this film. What Passion is lacking is, ironically, some passion.
  22. As a mainstream sci-fi film, this enjoyable, occasionally poignant effort too often feels messy in the wrong ways.
  23. McCarthy has a great knack for vicious verbiage, and in combination with her supreme physical control there's pleasure in seeing Darnell tear an opponent to shreds, even (or especially) when she's in the wrong.
  24. There are jokes that land, and every time Kathryn Hahn steps on screen the film threatens to tilt on its axis and point toward a truer north.
  25. While the politics and film as a whole are not entirely successful, there is much to admire in “Wolf Creek 2,” not the least if which is director Greg McLean’s chutzpah. He is a visually adept filmmaker who makes fine use of the broad canvas that is the outback.
  26. Never quite fun enough for kids or teens, but also unlikely to appeal to loyal fans, Power Rangers feels like a film that’s not quite finished morphing into its true form.
  27. Godzilla asks you to care about its characters, achieves that aspiration, earns your trust, and then not only pivots towards a far less interesting character, but abandons most of its absorbing emotional legwork for a fairly rote and straightforward rock ‘em, sock ‘em monster movie.
  28. Bale and Pike are superb. Despite some melodramatic tendencies and strange choices in Cooper’s script they make you have sympathy and compassion for each of their characters.
  29. Post Tenebras Lux is certainly unique, but Reygadas is often intensely more interested in provoking his audience than actually fleshing out his heady ideas.
  30. Overall, this is an action-comedy that should be as full of laughs as it is explosions (So. Many. Explosions.), but there’s little joy other than letting Mirren be (super) sexy and Malkovich deliver a few good lines.
  31. Someone Marry Barry is a reasonably entertaining argument that good performers can enliven weak material.
  32. The film can be engaging, well-made, and even a touch more interesting than it has much right to be. But it's also far from a satisfying work as a whole.
  33. He's a romantic and a psychopath and creature of the night. Sadly, Dracula Untold, with its humorless aura and been-there-done-that feel, doesn't allow Evans to inhabit many of these aspects. Instead, Dracula Untold feels largely uninspired.
  34. As The Gods Will is a minor film from a major talent, but few middle of the road efforts from directors manage to retain the kind of wholly original sensibility seen here, and have as much fun as Miike is while doing it.
  35. A moving movie that tries too hard to please and thus never truly satisfies.
  36. Personal Shopper is a mess — not an uninteresting one, and better that than a staid, unadventurous bore, but a mess nonetheless.
  37. Overall, it's not that Neil's directorial debut is boring or even disappointing, it's that it's just unexceptional – almost exactly the sort of dime-a-dozen growing-up story that's become a Sundance/ independent film world cliché.
  38. An unremarkable but solid genre exercise, one that shows off Jackie Earle Haley’s chops as a director.
  39. It’s easy to accuse Soaked in Bleach for many things, being a typical conspiracy theory documentary that makes many leaps in credibility in order to support its narrative being one of them, but a lack of focus is not among its faults.
  40. It might not be as risk-taking as previous Shainberg gems, but his knack for expertly crafted drama remains.
  41. Apatow indulges in his freeform tendencies to a particularly destructive degree with This is 40, resulting in a movie in which the ambitions are only equaled by the shortcomings.
  42. There seems to be a tiny gem of a character study hidden inside Walsh’s film, unfortunately, Maudie and its at-odds tones just don’t work. It’s a film that one can actively admire, but its difficult to fully embrace.
  43. Unfortunately Things People Do scuppers its own chances by having people do things we just don't ever, ever believe they would.
  44. An irreproachably tasteful, easily digestible but an unsurprising, undemanding watch.
  45. The end result is awfully sketchy, more a collection of ideas and memories than a proper film.
  46. Though it's impressive in many technical and surface ways, The Croods lets us down on the essentials of character and story, and no amount of late-stage father/daughter bonding or vertiginous 3D cliffside tumbling can make up for that.
  47. The Trust is many other things — darkly funny, flawed, with a eminently watchable dynamic between Cage and Wood — but from frame one it reasonably entertains, while its characters have nothing but contempt for one another.
  48. Zhangke's always had a throughline regarding economic inequality and the 21st century-style Chinese capitalism in his work, but Mountains May Depart might be the director's defining statement on the way that his nation has changed over the past few decades. If only he were a touch subtler about it.
  49. If you’re not looking for reinvention and loved the first "Sin City," then you'll probably love this one too. It's a gorgeous-to-look-at, brain-splattered case of "more of the same."
  50. An unprecedented take on the holiday film, but not an entirely successful one.
  51. 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.
  52. It is a credit to Snowman's Land that it's plot twists are, for the most part, not entirely predictable, nor do they ever come across as far-fetched.
  53. Perhaps the best that can be said of Salt and Fire is that its flaws are wholly Herzog’s. Those flaws are deep. But so is the man responsible for them.
  54. Alvarez’s visual flair and handle on tone can only mask his paper-thin characters and motivations for so long.
  55. A Single Shot does not add up to anywhere near the sum of its parts.
  56. Whatever fascination the film holds belongs solely to Del Toro and his vanity-free impression of Escobar as a titan whose potbelly and gym shorts do not put the slightest dent in a charisma that hypnotizes a nation.
  57. The film's lack of terror might be more forgivable had it embraced its more humorous inclinations, but the script’s pedestrian liberals-vs.-conservatives, boors-vs.-yuppies conflicts rarely result in anything laugh-out-loud funny.
  58. Ninjago is mildly entertaining, and kids should find it pleasurable enough, but it’s missing that special spark, the kind of joyful flicker that compels children to ask for the movie on DVD at Christmas
  59. Bay's overwrought tendencies simultaneously lead to the film's most compelling sequences of tense, bloody battle even as they forestall the more nuanced storytelling that would be crucial to truly unpacking the attacks. Bay may see the film as a cry of truth; muffled by his own predilections it's only a whisper.
  60. Quite frankly, The Jeffrey Dahmer Files would have been better if it had a little more meat on its bones.
  61. There is no doubt that Greetings From Tim Buckley is respectful, and thanks to Badgley and Rosenfield, does justice to both singers. But the film never quite connects father and son as each sharing the common bond of extraordinary talent or even similar personal woes.
  62. A loving and in fact overly adulatory genre film which is not so much a take on the revenge Western as a deeply faithful recreation of it, at times so faithful as to veer dangerously close to pastiche.
  63. It’s an admirably well-crafted misfire, created by two of the finest filmmaking duos working together today. But perhaps that demonstrates just how singular the original remains, even to this day.
  64. The film is never as savage as the first-act anarchy suggests it might be, and its best ideas are subsumed into familiar thriller concepts. Good craftsmanship elevates the result above workaday thriller territory, but ultimately Money Monster never rages in the “mad as hell” mode that’s always kept just out of reach
  65. The cast alone deserves to be recognized more than the notes of “Speak It, Don’t Leak It.” And yet, here I am, humming it.
  66. For every moment of comedy that lands or drama that touches a nerve, there are ten of “why the bloody hell should I bloody care?” or “cry me a river, you had to sell your Brueghel.”
    • 65 Metascore
    • 58 Critic Score
    It wants to be cute, it wants to cool, and it also wants to be thoughtful and engaging, but Sam de Jong is unable to make the story feel tight and focused enough to allow it to succeed on all those levels.
  67. Its patchy tone, plot, characters and sympathies make for a film that’s difficult to wholeheartedly endorse.
  68. While its ambition does show a director still aspiring for great heights, its patchy execution only partly restores the faith.
  69. Even the best routines can’t entirely raise the film from its shambling, directionless feeling, and nothing is nearly as tight as Tatum and crew’s dance moves.
  70. It's a sterile affair, no ambiguity, no ambivalence, just people doing one thing and then another.
  71. Moretz is great here, able to rise above the voiceover and dialogue she’s given. And thank goodness, because she's in almost every frame.
  72. Aloft and its icy landscapes and feel of gently dropping barometric pressure can only distract so far from what is essentially an overwrought melodrama that here and there tips over into heavy-handedness despite the restrained beauty of its images.
  73. There are some chills to be had here, but they taper out exactly when the action should really be ratcheting up, and the film’s tension burns out so quickly that it might as well have been sucked into an inter-dimensional portal of its own.
  74. The Last Stand delivers -- up to a point. Keep those expectations reasonable and try not to be disappointed.
  75. Gently involving, but never quite engrossing, there’s a first draft shape to the picture that feels slight and makes for a minor work.
  76. The Nightmare can be deeply distressing and blood-curdling, and it can be a little silly, too.
  77. As a piece of filmed entertainment Snowden is certainly a watchable endeavor, but Stone and screenwriter Kieran Fitzgerald’s script is often an odd mix of hero worship, conspiratorial thriller and cringe worthy dialogue.
  78. The Keeping Room attempts a blend of sexual curiosity, home invasion horror and elegiac drama, that doesn't quite work, but whose ambitions are nonetheless compelling.
  79. It’s worth the price of admission just to see Hardy’s Reggie performance, which is up among his best work. Still, the story could have perhaps used a more inspired hand at the helm.
  80. There’s no denying the lovingly recreated production and costume design, all curved corners and wide lapels, and the era’s sexual politics and self-help movement are slyly incorporated as well... However, the droll humor on hand is more hit-or-miss.
    • tbd Metascore
    • 58 Critic Score
    May It Last plays more like a puff piece than a concert doc, never digging to discover the hard sacrifice to this hectic touring schedule, the dirt beneath the fingernails of such work.
  81. Message from the King isn’t a chore to watch by any means; and there are moments that suggest the more colorful neo-noir that might’ve been.
  82. Mark Strong and an underused Brian Cox are fine, and Taissa Farmiga demonstrates why she is acknowledged as one of America’s most promising young talents. But she deserves a better role, everyone involved deserves a stronger script.
  83. The 90-minute film feels shallow and, while Rosi has a good eye, not especially cinematic.
  84. Lawrence is never less than commanding in her last outing as the fiery dystopian heroine, but the most heartening liberation proffered by Part 2 is its star’s escape from this one-note fantasy series.
  85. It ends up feeling like going to a festival headlining date by a reunited Britpop band. It’s great to see them back together, they look pretty good for their age, and there are transcendent moments when they play the hits. But the set goes on a bit long, and the new material’s a bit forgettable, and they’re sloppier than they used to be, and in the end, you start to wonder if it had been better if you’d been left with your memories from back in the day.
  86. Alternating immense bombast with long stretches of longueur in its psychologically questionable evocation of the formative years of a future despot, the film is formally confident, stylistically inventive and intensely irritating.
  87. One Week And A Day is at times a genuinely funny diversion amongst the Critic’s Week selection. However, a sentimental streak and a series of precocious narrative turns diminish the impact of the film.
  88. Handsome is modest and mild-mannered, the type of comedy that likes to keep things content and mostly carefree.
  89. For all the tepid pacing and uneven storytelling, though, Collins and co. do a great job of making To The Bone a watchable film. They are, by turns, charming and heartbreaking — even when they aren’t given much to do by the script.
  90. While it’s hard to indict the movie for wanting to admire and honor this extraordinary girl, the movie loses its own inherent potency with a haphazard structure that jumps around far too much in time and a monotonous narrative about Malala overcoming oppressors to bravely speak out and inspire the world.
  91. Everything, Everything is appealing in its own way. It’s good-hearted, if poorly conceived, but perhaps most crucially, Everything, Everything leaves you with very little worth remembering.
  92. 360
    If the film had not been afraid to go a little darker (like its sexually frank opening), dig a little deeper, and develop its characters beyond their stereotypes, it would have been a much stronger effort.
  93. While there's a lot of fun to be had, Furious 6 doesn't quite hit the insane heights of "Fast Five," but we're sure it'll delight franchise fans who mostly want to see bald people butt heads, and moving vehicles crash into other moving vehicles.
  94. By sex line standards, For a Good Time, Call... clearly succeeds –- it starts off slow, includes plenty of dirty talk, then gives us the happy ending we came for –- but our needs are a little bit greater when it comes to good films.

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