The Playlist's Scores

  • Movies
For 1,245 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 point higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 12:08 East of Bucharest
Lowest review score: 0 The Campaign
Score distribution:
1,245 movie reviews
  1. Michael Almereyda’s Cymbeline works best as a cautionary tale concerning the dangers of of believing that everything written by The Bard is “timeless.”
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. Uninventive and unimaginative.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. Is it fair to make Woman in Gold representative of the failings of the whole historical-true-story-designed-to-remind-an-older-skewing-middle-class-white-audience-that-people-have-triumphed-over-adversity genre? Perhaps not, but as one of its most egregious and fallacious examples, it's as good a line to draw in the sand as any.
  15. 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.
  16. 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.
  17. 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.
  18. 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.
  19. The whole thing feels sort of tossed off, like it was made by film students over a couple of weekends.
  20. You wonder if Hollywood is trying to make a point: sex is joyless, and best experienced by recognizable, and recognizably obnoxious people.
  21. This one veers further from actual horror into an action picture. “The Purge” tries to unsettle. The Purge: Anarchy wants you to cheer.
  22. Escape Plan deserves some credit for gradually rising from abysmal to almost-mediocre, though it’s needlessly complicated in every step of the way.
  23. 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.
  24. The gore was laughable and the script was blood curdling. Shouldn’t it be the other way around?
  25. It's utterly unconvincing and not scary in the slightest.
  26. 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.
  27. 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.
  28. 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.
  29. 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.
  30. 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.

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