The Playlist's Scores

  • Movies
For 2,238 reviews, this publication has graded:
  • 56% higher than the average critic
  • 3% same as the average critic
  • 41% lower than the average critic
On average, this publication grades 1.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Cameraperson
Lowest review score: 0 America: Imagine a World Without Her
Score distribution:
2238 movie reviews
    • 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.
  1. 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.
  2. Manufactured and manicured to appeal to the teenage fans of Green's book, Paper Towns is so polished and edgeless, that even Margo herself would look at the finished product, and question its authenticity.
  3. 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.
  4. The marketing engine of Minions is undeniably powerful. This is something craftily designed to sell toys and theme park tickets and special cans of Tic-tacs. But it’s not a movie. It’s an eyesore.
  5. With no plot to speak of, a baggy tangent across Europe in the mid-section, and no forward momentum, War Machine soon descends into the quicksand of its own design and never recovers. From there it’s an enervating slog of two hours that invites sleep.
  6. 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.
  7. 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.
  8. If DreamWorks Animation is hoping to get back on track with this movie, a lavish sci-fi comedy based on a recent children's book, they're pretty much doomed.
  9. Perhaps the array of characters read better on the page, but it all feels slight in execution, particularly when half of the running time is spent on Tommy’s past and what unfolded between himself and Shelley. Combine all that with a particularly lackluster sense of urgency and pacing, and you have film that offers few reasons for investment.
  10. 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.
  11. An unsavory, underdeveloped and uninspired bore, it takes too many blows and doesn’t give nearly enough counterpunches. It doesn’t cut. It doesn’t bleed. It doesn’t even hit. Hell, it barely puts up a fight. It comes out the gate frail and disoriented, already down for the count before the picture has started.
  12. As exampled in “Martha Marcy May Marlene,” any chance to hear Hawkes perform solo on guitar is time well spent. It’s time well needed, too, as it provides a moment of reflection to remember why we came — Hawkes — and wonder how he found himself in such a confounding misfire.
  13. Michael Almereyda’s Cymbeline works best as a cautionary tale concerning the dangers of of believing that everything written by The Bard is “timeless.”
  14. It would be too easy to say The Magnificent Seven isn’t magnificent. It’s definitely not, but the film has an even more egregious quality: it’s uninspired. There’s no risk, no real attempts to subvert expectations, and no desire to truly give the audience something, if not entirely new, then at least surprising.
  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. 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.
  17. 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.
  18. Big Game comes away with the distinction of being watchably terrible. There is a certain ridiculousness that is engaging, but this shouldn't be confused for merit.
  19. 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.
  20. It has all the makings for Green to find that sweet-spot between drama and comedy, and make something special. Instead, we're left with something exasperatingly bland and almost claustrophobically generic.
  21. Much more of an adolescent male fantasy than a relatable, genuine film about love or relationships, “5 To 7” is deeply naïve and has very few, if any real insights to the heart or human condition.
  22. 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.
  23. Thanks to deplorable direction by Paco Cabezas, and a childishly broad screenplay by Max Landis, Mr. Right ends up all wrong.
  24. Uninventive and unimaginative.
  25. 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.
  26. Overlong and joyless, it’s the cinematic equivalent of a giant, opulent express train trapped in the snow, heaving and off balance. Buy another ticket. Skip this train.
  27. Though 47 Meters Down perfunctorily succeeds in its aims to terrify the audience, it’s not as much fun as it could be due to it’s beyond brainless script, its casual sexism and its idiot characters.
  28. 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.
  29. 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.

Top Trailers