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 Mommy
Lowest review score: 0 Rage
Score distribution:
1,315 movie reviews
  1. Promising outer-space majesty and deep-thought topics like some modern variation on Stanley Kubrick's “2001: A Space Odyssey,” Interstellar instead plays like a confused mix of daringly unique space-travel footage like you’ve never seen and droningly familiar emotional and plot beats that you’ve seen all too many times before.
  2. 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.
  3. The concept of the film could have been played several different ways, from farce to high-drama to Hitchcock-ian thriller. Ozon decides to try it all, but in the end doesn’t pull off any.
  4. There are so many interesting ideas and concepts that could have been spun from this framework. Instead, it's the work of a bunch of filmmakers who seemingly wanted to offer up a WTF-worthy twist ending and tried to reverse engineer a movie from it.
  5. While the more down-to-earth Chef does offer some fascinating autobiographical dimensions, the film is also an overlong, unfunny, largely insufferable bore.
  6. The film is not only one dimensional when it comes to its subject, but also of the time and place where Hendrix arrived.
  7. The Good Lie is so manufactured around a particular dramatic blueprint that any sense of spontaneity, surprise and engagement are sucked right out of the picture.
  8. Muddled, muffled and mixing empty comedy with empty dramatics, The We and the I is an abject failure.
  9. Mr. Nobody is simply a failure.
  10. Forbes’ script simply cannot make the things she lived through alive for us in anything but the most glib, shallow and contrived way.
  11. 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.
  12. Campy and cartoonish, Burton’s Big Eyes is not the return to form many were hoping for. It is another phony and hollow piece of sugary kitschploitation masquerading under the guise of an “important true story” that places a nearly grotesque premium on style over any traces over substance.
  13. 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.
  14. +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.
  15. It's not funny enough to be a comedy, not well plotted enough to be a thriller but it's also not smart enough to be an actual exploration of all or even any of the many philosophies it, and Abe Lucas, espouses.
  16. 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.
  17. 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.
  18. 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.
  19. The film plays nary a note of reprieve and the dank aesthetic does nothing to help the mood. “Low Down” is unequivocally a downer.
  20. 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"
  21. It's the sort of film where music montages are used like wallpaper to take narrative shortcuts and minimize messy conflict.
  22. Bad Words wants so desperately to be funny that there isn't much time left to make any logic out of the story.
  23. 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.
  24. What's interesting about Proxy is that it plays with all of the ephemera associated with pregnancy – the way that a person's psychology can warp around it – but too often gets bogged down in B-movie clichés and an unnecessarily convoluted narrative that strives for profundity but comes across as crass and dull.
  25. Fans of the novel might get some minor thrills from the big screen adaptation, but it's hard to understand what made the material so popular in the first place.
  26. Director Ari Sandel, working with a script by Josh A. Cagan, doesn't have the deftness to really convey how Bianca's personality turns conventional wisdom into her own unique, attractive qualities.
  27. 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.
  28. 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.

Top Trailers