The Playlist's Scores

  • Movies
  • TV
For 3,394 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 1.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 Tabu
Lowest review score: 0 Getaway
Score distribution:
3394 movie reviews
  1. The drama rests on their efforts to claim self-agency that the circumstances of their success have accidentally denied them. The effect of the message and the medium is trim and unsparing; the sendoff is surprisingly uplifting. Altogether, the package is remarkable.
  2. This is a uniquely Chinese-American documentary. And an immersive film concerning the immigrant experience. It’s also a work that shows the humanism needed for great journalism to happen.
  3. Brighton 4th might be slower and lack the dramatic stakes of other films that dive into this type of criminal activity, it’s still a compelling and somewhat tangential portrait of the Eastern European community that exists in Brighton and features a great performance by Tediashvili, in his first film role.
  4. Stylistically, Ascension borrows from the city-symphony genre at times, with long stretches passing without any dialogue as the camera whips past and through recycling depots, cell phone assembly lines, and poultry plants. There are no talking heads in the picture or any camera-facing reflections to guide the audience along a narrative, making it less cinéma vérité and more direct cinema in style. It is an effective approach.
  5. No Man of God has a purpose: The truth. This isn’t a Ted Bundy movie, but rather a movie about Ted Bundy.
  6. The complexity of the plotting overwhelms the picture a bit, which gets a little fuzzy in the middle – but it eventually forcefully snaps into focus, mostly by finding its spine in the simple notion that this is a movie about people under pressure.
  7. Slow and stagnant despite the ongoing swirl and fleeting natural style, Riggs film ignores any firm story promise in favor of establishing almost solely character and circumstance, resulting in a sincere lack of basic plot progression, eventually leading to an unbelievably unsatisfying pay-off that made this writer throw his hands up in rage (ironically enough).
  8. By the waning minutes, when the film’s glimmering neorealism energy returns, cleansing the abrupt conclusion with a spellbound spirituality, Wladyka has assuredly provided a distinct vision that pulses to potent degrees.
  9. While occasionally dipping into adulation, especially when Fine gently probes Wilson to speak about some aspect of his life, the film is an excellent primer for deeper dives into Wilson’s life and a lighthearted hang with a musical legend.
    • 53 Metascore
    • 42 Critic Score
    While Fatherhood could have been an interesting pivot in his career, the script is too standard-issue and unimaginative to inspire a great dramatic performance from Hart.
  10. A fitting follow-up to “Minding the Gap,” Liu and Altman’s All These Sons is a sharp, deeply personal piece, equal parts devastating and inspirational.
  11. It’s so fresh and so funny in its first hour or so, in fact, that it’s a real bummer to watch it all fall to pieces in the home stretch, with a pivot into drama that’s too much, too fast — and, more importantly, too much of things we’ve seen before.
  12. Italian Studies is a striking mix of open-hearted storytelling and atmospheric filmmaking, with an overall confidence from Leon and Kirby that’s more pronounced than the script’s slippery nature.
  13. The climax is entertaining and crazy but not necessarily as satisfying as it hopes to be. Still, for all its flaws and inability to deliver in the end, False Positive is a captivating take on the misrepresentation of the pregnancy “glow.”
  14. While 7 Days occasionally goes too broad in juxtaposing Ravi and Rita, sometimes pitting them as ideological binaries instead of fully realized characters capable of vacillating in ideas, the film more often than not allows them to develop and shift as they get to know each other.
  15. Gaia is a weird damn movie, but Bouwer’s filmmaking centers the weirdness so well that once it subsides, we remain assured that we’re on firm ground.
  16. The narrative provides enough thoughtful laughs that fans of politically-tinged genre fare featuring phallic fire totems should chuckle enough and have fun.
  17. Disappointingly, despite the rich subject matter, Le Guillou lets “An Unknown Compelling Force” become more his story than that of the dead.
  18. This movie will fill your heart up. Casarosa is an artist with a true perspective, fearless in his creative impulses and limitless in his compassion, and Luca is a pure expression of these sensibilities.
  19. Overall, Cummings and McCabe’s film touches a raw nerve with sharp, funny, awkwardly prickly provocation.
  20. It’s all so breezy and light that you just want to join them and hang out for a while, even with all the drama they’ve got brewing.
  21. The premium placed on upmarket, glossy, muscular cars is so conspicuous that Fuqua scored buyback product placement cash. Elon Musk would surely be enamored. It’s essentially that kind of movie, “The Matrix” and Nolan-lite for dudes who check their bitcoin futures during the movie on their smartphones. Sick, bro.
  22. Ultimately it’s very little about football. It’s about class. This is a theme worthy of a spotlight, too — but 12 Mighty Orphans isn’t the place for it, or it shouldn’t be.
  23. At its best, it does what Bourdain’s work did: “Roadrunner” makes you want to jump on a plane, discover a new place, a new culture, eat a great meal, and make a new friend. What could be more valuable?
  24. Awake is not even smart enough to play a little dumb, and so even the silliest, most gratuitous parts involving very cranky humans turning into killing machines are anticlimatic and frankly boring. The apocalypse has rarely been this abysmal.
  25. Holler succeeds at putting a human face on large-scale economic trends, telling a suspenseful coming of age story that shows the true cost of lost opportunity.
  26. Hitman’s Wife’s Bodyguard is a marginally better movie than “The Hitman’s Bodyguard.” But that’s kind of like saying that getting stabbed in the gut is marginally better than getting stabbed in the neck.
  27. The Amusement Park is a concise film (only 52 minutes), but Romero packs it so full of detail and ambition that it contains more to appreciate than most films that run three times as long.
  28. F9
    It’s hard to argue with too many of the decisions considering what a fitfully entertaining and satisfying entry it really is. This is a movie stuffed (perhaps overstuffed) with moments that will make you gasp, giggle and applaud, whether this is your first “Fast and Furious” movie or you’re a longtime fan.
  29. Liborio is a beguiling film for the spiritually minded, with fascinating parallels to early Christianity, allowing the audience to question what they might do confronted with a messiah and also how that story might be shaped afterward.

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