The Playlist's Scores

  • Movies
For 782 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 1.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 The LEGO Movie
Lowest review score: 0 R.I.P.D.
Score distribution:
782 movie reviews
  1. The Impossible strikes an insincere tone, one that doesn't let the obviously powerful moments stand on their own, but instead follows the beautiful Hollywood stars to safety, while the real story is left on the ground.
  2. Forbes’ script simply cannot make the things she lived through alive for us in anything but the most glib, shallow and contrived way.
  3. Muddled, muffled and mixing empty comedy with empty dramatics, The We and the I is an abject failure.
  4. Mr. Nobody is simply a failure.
  5. It’s an ugly, unpleasant viewing experience, one that sees geek culture as a hateful cesspool of exclusion and juvenility, miserable to experience first-hand.
  6. Wanting to create a leading character worth rooting for, and experiencing the schadenfreude that comes from her failure, is a complex balancing act, one that Adult World simply cannot pull off.
  7. +1
    The film is so po-faced that you wonder what the point of all this is, let alone what we should be hoping is the outcome. Struggling to bring gravity to the proceedings are Wakefield and Hinshaw, who give off the heat of two slabs of baloney slapped together.
  8. The risible Stoker is a brutally empty, deeply unfortunate movie, and Park Chan-wook's jackhammer of a tool he calls a brush is, on this evidence, something that should be locked away.
    • 58 Metascore
    • 25 Critic Score
    Lacking narrative momentum, saddled with thin characterizations and uninspired plotting, Trouble With The Curve should've stayed on the bench.
  9. One of the more disappointing big studio animated features this year, a movie can't even muster the energy to be visually engaging, let alone give you anything to care about story-wise.
  10. The whole thing feels sort of tossed off, like it was made by film students over a couple of weekends.
  11. The film, like the original, feels very haphazardly structured, a hotchpotch collection of scenes rather than a unified whole. There's also no tonal consistency, with Webb lurching awkwardly from quippy comedy to brooding drama to high tragedy in short spaces of time, undercutting all three modes as a result.
  12. while the more down-to-earth "Chef" does offer some fascinating autobiographical dimensions, the film is also an overlong, unfunny, largely insufferable bore
  13. The meat of the film is sadly, a tedious misstep for a director who, even when he's experimented in the past, has generally come up with something more interesting than this. It is, however, still better than "9 Songs"
  14. Bad Words wants so desperately to be funny that there isn't much time left to make any logic out of the story.
  15. While stylishly capturing the verve, exotica, and free-spirited mojo of swinging '60s London, uber-prolific English director Michael Winterbottom's portrait of legendary U.K. smut impresario Paul Raymond is otherwise a shallow misfire.
    • 57 Metascore
    • 33 Critic Score
    By the time the ridiculous child psychologist character encounters a government employee with a convenient bounty of useful information, Mama just becomes laughable, then annoying.
  16. About Time, inadvertently, reveals itself to be About Men, and how they devise lies in order to create the illusion that all women supposedly want to see.
  17. Honoré's made better films, and he'll make better films again; the most damning thing you can say about this one isn't that it feels like Honore doing a third-rate imitation of Francois Ozon ("Potiche," "8 Women"), but rather that it often feels like Honoré doing a third-rate imitation of himself.
  18. Kiefer Sutherland feels somewhat miscast as the mentor, but nowhere near as badly as Hudson is as the love interest. In all fairness, it’s a nightmare of a part, an artist (whose art is, as it turns out, is terrible) haunted by the recent death of her boyfriend, and seemingly unable to read basic human feelings and emotion. But Hudson doesn’t really help things, coming across more often than not as unintentionally funny.
  19. Broken simply can't get it together on any level, delivering a tedious drama, that for all the characters and over-emoting, doesn't have much to say.
  20. When the end comes, and the suggestion of a sequel is left faintly lingering (though not in the way you’re expecting), weariness descends on just how unimaginative Carrie is and how easily it settles for the expected, rather than striving to be excitingly refreshing.
  21. White House Down wants to riff on the stirring action crowd-pleasers of old. But instead of playing on those motifs, White House Down becomes a slave to them, turning into the very kind of rote, brainless, poorly choreographed and leaden action movie it wants to lighten up.
  22. Uninventive and unimaginative.
  23. Watching Deadfall really is like being trapped in a blizzard – the cinematography is so muddy you can barely make out what's going on on screen (besides the bright splashes of blood) – you're antsy to be anywhere else but where you are.
  24. The road to hell is paved with good intentions, and in a few months it will also be paved with unwatched DVD copies of The Tall Man.
  25. As a movie, it’s quite an effects reel: Cockneys Vs. Zombies is a greatest hits package of your least demanding expectations given such a title.
  26. A major gaffe, God Help The Girl finds a great artist taking on a huge challenge and stumbling painfully on its ambition almost every step of the way.
  27. Snitch is just a big, dumb, ugly-looking waste of time, one that turns one of cinema's most charismatic heroes into a restless drone. As they say in the joint: snitches get stitches. But Snitch deserves to be put down for good.
  28. There's a pleasing egalitarianism to the film's history-through-the-eyes-of-the-ordinary-man concept, but the script rarely makes the case that their versions are compelling enough to warrant a film.

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