The Playlist's Scores

  • Movies
  • TV
For 3,822 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 1.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Days of Being Wild (re-release)
Lowest review score: 0 Oh, Ramona!
Score distribution:
3822 movie reviews
  1. Marcel the Shell with Shoes On locates a world of wonder inside our drawers, under our noses, within our grasp – and enables viewers with the tools to both access and appreciate it.
    • 69 Metascore
    • 67 Critic Score
    Beavis and Butt-Head Do the Universe maintains and respects the legacy of the classic MTV show. It hits all the same beats, delivers what people will be looking for, and smoothly weaves in social and cultural references from the 90s and today without feeling ham-fisted or forced. It’s hard to say whether this feature will win them any new fans because, as enjoyable as it is, it’s not their finest hour (and 40 minutes).
  2. The performances solidly do the job of moving things along, but as game, as they are, Belgau’s screenplay offers the actors few options to work around its creaky dialogue.
  3. With a script this sharp and performances this game, it’s a shame that the basic filmmaking doesn’t do anything visually to elevate the film further.
  4. Bolstered by tone-perfect performances from all three of the leads, and a script that hides larger themes within the body of the narrative like vegetables in mashed potatoes, Wild Men hits with the force and precision of an arrow fired from Martin’s homemade bow. And while the tone of the film toys with the absurd, what it has to say about masculinity, regret, and what it means to belong is anything but.
  5. While the story beats may not be surprising, Poser still acts as an impressive debut for not only the directors but also Mix and Kitten, who create a simmering tension between them.
  6. Rasoulof’s film, while understandably angry, is nothing if not singleminded . It’s a saturnine morality tale that unfolds in shades of rainy gray beneath leaden, overcast skies, gritting up the nation’s cinematic tradition of humanist drama to an almost unrecognizable degree.
  7. It’s tempting to take it easy on Alone Together, because harsh criticism feels somewhat cruel – it’s just such a gosh-darned nice movie, about two nice people who meet up and are nice to each other. But this is one tepid piece of work, a story of bland people doing and saying bland things as the world burns around them.
  8. Rather misjudged dips into the realm of fantasy likewise fail to lift up proceedings, but Rodeo is at its best when it stays down to earth, close to the pavement.
    • 38 Metascore
    • 50 Critic Score
    Ultimately, neither Squire nor Roberts nor Gallagher Jr. really puts a foot wrong in this movie, but that’s chiefly because the whole thing is standing still.
  9. While the first hour or so is compelling, the problem with The Policeman’s Lineage isn’t so much the fact that it’s an amalgamation of various genres and tropes, but more that there is little coherency when the film transitions between them, creating a feeling of whiplash.
  10. Following Pixar’s two most refreshing releases in years, “Luca” and “Turning Red,” both of which were deemed unworthy of a full theatrical release, it’s difficult not to perceive “Lightyear” as a far less compelling and safe bet. How tiresome it is that most studio productions must now exist as part of a larger multiverse in order to merit exposure. In the end, “Lightyear” reveals that today, given Disney’s business model, “to infinity and beyond” really only means to the inevitable sequel.
  11. There’s simply too many stories to contain about the Chelsea, but “Dreaming Walls” does well to show how the ghosts of the residents past can, hopefully, inform the hotel’s future.
  12. While you will get sturdy popcorn pleasures from Spiderhead, you’ll also leave wondering what more possibilities Hemsworth holds as an actor once he lays his hammer down.
  13. Some of Novak’s camera sense, particularly early on, betrays his sitcom roots, and he commits the classic rookie mistake of going on three or so scenes too long, tying up inconsequential loose ends. But he crafts a good mystery, consistently engaging and entertaining, and the thoughtful turns of the last confrontation are sly, smart, and knowing.
  14. While it is great that the documentary gives their commitment to direct action proper respect, it sometimes downplays exactly how important the work of activists who got abortion legalized in states like New York, or who got Roe through the court system was. Where it does succeed well is in showing the socio-economic disparity in access to safe abortions, which cost roughly 5 times as much as a month of rent.
  15. Like a Spider-Man pointing meme doomed to continue eternally, ‘Dominion’ points to the terrifying possibility that nostalgia might serve as a renewable resource for Hollywood. (Ironic, given the fossil-fueled power of ‘Jurassic.’) Trevorrow gives audiences what they want – or, at the very least, what the studio bosses at Universal think they want. But at what cost?
  16. Interceptor is about putting on a show, and Pataky has the muscular charisma to carry it.
  17. There’s enough craft and heart involved in “Hustle” to keep it from feeling like just a league PSA or an algorithmically crafted Netflix product. Those elements go a long way, but solid execution can only take a well-worn playbook so far.
    • 48 Metascore
    • 67 Critic Score
    Dashcam delivers a relentless, evolving monster movie that utilizes familiar genre tropes from various influences, including “REC,” “Chronicle,” and “Paranormal Activity: The Marked Ones.” However, it brings enough to the table that doesn’t feel familiar to make it work effectively.
  18. The film’s very long takes feel extremely rich with meaning and texture even as they often show a whole lot of nothing.
  19. At its best, a welcome addition to the increasing number of contemporary Native American stories seen in the films such as “Songs My Brother Told Me,” “Wild Indian” and FX’s “Reservation Dogs.” At worst, it’s a disjointed narrative that sadly overstays its welcome.
  20. It is a moving healing journey, but one that feels almost too smooth, a best-case scenario with few bumps in the road and, more significantly, very few surprises.
  21. While the entire cast is superb, it’s the rich performances from Watson and Mescal who elevate the material beyond that aforementioned air of familiarity.
  22. 'Trouble in Mind' barely feels like a movie at all. ... Absent any contemporary reflections by either the subject or outside observers, we’re left with no real idea how anyone feels about Jerry Lee Lewis and his exploits on either side of the camera.
  23. A consistently funny yet narratively undercooked coming-of-age story.
  24. The filmmaker’s tart and scabrously funny (both literally and figuratively) sophomore feature is a pointed portrait of a toxic relationship and a razor-sharp evisceration of those warped by a victim mentality.
  25. While More Than Ever spends much of its time concerned with Hélène’s way of dealing with her illness, the film is a love story at heart.
  26. The Five Devils feels like the inevitable encounter of indestructible drives, which send sparks flying both when they are satisfied and when they are denied.
  27. Like the discreet, uncluttered canvass of her works— minimalist, spare, and with just enough inviting details to inspire your curiosity—Reichardt leaves generous space and room for the viewer to contemplate. And I would argue the captivating and delicately considered Showing Up leaves much to consider about why we make art and what we’re trying to say while making it.

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