The Playlist's Scores

  • Movies
For 1,011 reviews, this publication has graded:
  • 55% higher than the average critic
  • 2% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 0.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Computer Chess
Lowest review score: 0 Jewtopia
Score distribution:
1,011 movie reviews
  1. Felony isn't a federal case of a bad film, but it's certainly a serious misdemeanor, one whose crime is running away from the challenge the story sets up, to settle on something cheap and conventional.
  2. 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.
  3. 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.
  4. 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.
  5. I Give It a Year groans on, with unmemorable scene after unmemorable scene, each one more contingent on coincidence and happenstance than by the actual, gear-filled mechanics of drama or comedy.
  6. Elusively told to the point of irritation, joyless and shot in chilly incarcerating rooms, War Story has the look and feel of an exhausted ashtray and borders on the pretentiously unclear.
  7. The Campaign is insidiously stupid, a laugh-free water balloon lazily tossed at the institution of politics, and one that makes "Semi-Pro" look like a lost Robert Altman film.
  8. The whole thing feels sort of tossed off, like it was made by film students over a couple of weekends.
  9. You wonder if Hollywood is trying to make a point: sex is joyless, and best experienced by recognizable, and recognizably obnoxious people.
  10. This one veers further from actual horror into an action picture. “The Purge” tries to unsettle. The Purge: Anarchy wants you to cheer.
  11. Escape Plan deserves some credit for gradually rising from abysmal to almost-mediocre, though it’s needlessly complicated in every step of the way.
  12. Strangely old-fashioned in its construction and requiring a Golden Gate-level feat of engineering to achieve the suspension of disbelief necessary to unironically enjoy it.
  13. The gore was laughable and the script was blood curdling. Shouldn’t it be the other way around?
  14. It's utterly unconvincing and not scary in the slightest.
  15. The acting is as inspired as the screenplay allows, which just isn't enough to add any kind of conviction to the events that transpire on screen.
  16. Acerbic and purposefully vile, LaBute’s story is clearly self-aware of its various cruel manipulations of character and audience, but the formula itself -- taken from his early modus operandi -- is simply becoming more and more rote.
  17. Forgettable and only mildly entertaining, 300: Rise of An Empire seals its own fate at the initial story level by being so deeply invested in its own mythmaking and playing super safe.
  18. It’s as if Weitz knows he’s got a corpse of a film on his hands -- never trust a movie when it feels as though you can see the director clasping the defibrillator.
  19. Da Sweet Blood Of Jesus is, without question, bold, distinct, and idiosyncratic filmmaking with its own voice. Unfortunately, that doesn’t necessarily mean it’s good or in any kind of reasoned key.
  20. The film plays nary a note of reprieve and the dank aesthetic does nothing to help the mood. “Low Down” is unequivocally a downer.
  21. Up until the very very end (which uncorks a CLASSIC cop cliché that seemed long dead by now), The Sweeney is straight dumb procedural, no chaser.
  22. It's mythmaking for dummies, a Hercules with no poetry, only incompetent brute strength.
  23. Overstuffed yet trite and empty, Fort McCoy attempts to mix heavy drama, slapstick comedy and romance all in the wrappings of a coming of age tale set in the summer of 1944, but flounders on all fronts, resulting in a picture that offers a rather naive and simplistic view of the murky territory between good and evil.
  24. Unfortunately, there are few screens small enough to properly convey how inessential another deadpan suburbs satire is in 2012.
  25. Pain & Gain fails at being an entertaining and ridiculously fun Michael Bay movie and curdles into something much more tone deaf and obnoxious.
  26. A lurid, florid, humid, flaccid and insipid waste of time and money for the audience and for everyone who made it.
  27. It's not a surprise that he most resembles an older Charles Bronson in Taken 2, as both found the enthusiasm to soldier on in the action genre well into their old age. Bronson had a bit more patience with these films: after this, it's doubtful Neeson will.
  28. It's hard to tell who is to blame for the movie's abrasive anonymousness – Curtis or Apted – but it hardly matters. In either directors' hands, Chasing Mavericks would have been a wipe-out. It's totally bogus.
  29. An end-film tease for a laughably unnecessary part two feels emblematic of the entire film: McKee and Sivertson aren't interested in laying any groundwork regarding cogent themes or diverse characterization, because there are skulls to be split and blood to be drank.
  30. It's a comedy so out of touch that jokes disappear before they're even delivered, as if by magic.

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