The Playlist's Scores

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For 3,927 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 1.4 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:
3927 movie reviews
  1. As newly-elected president Gabriel Boric takes the stage to address the nation that placed upon him precious trust, it is hard not to be moved by the electric rawness of hope.
  2. Mckenzie is a good match as an actor, countering Davis’s big emotions with a quieter turn and more introverted but no less affecting. She isn’t afraid of the difficult contradictions of the character, and by the film’s end, we’re struck by how much everyday horror this young woman shoulders and sucks up.
  3. If you’re a fan of found footage and enjoyed the previous “V/H/S” films, you’ll find enough in “V/H/S/99” to keep you entertained. However, even though the addition of more camp and comedy shows that the anthology series is still evolving, five films deep, you have to wonder how much more tape is left in the cassette in the “V/H/S” franchise?
  4. Sidney functions as a loving memorial to the pioneering Black movie star who passed earlier this year, but it never suffices as more than a tepid first draft of his life. And it is never as groundbreaking as Poitier’s best work.
  5. Mary Harron is too good a director to make a drab, conventional biopic, so it’s disappointing to report that with Dalíland, she’s done just that. It’s not a complete waste, and she manages to insert a handful of distinctive flourishes and memorable characters. But the picture never escapes the box it’s been placed in or transcends a key, fundamental error in its conception.
  6. Wearing its influences on its sleeve, the rom-com aims to show where arranged marriage traditions and modern dating habits can fit in a multicultural modern Britain. Unfortunately, it can’t shake the screenwriter’s white gaze.
  7. Destined to make audiences weep, The Swimmers is no doubt a crowd-pleaser with an important message about the growing refugee crisis worldwide, and Yusra’s story is one worth telling. It’s a pity the filmmakers couldn’t take the time to see her life as more than just a vessel for this message.
  8. Unfortunately, aside from the always reliable Hawke and Okonedo, there isn’t much to praise about this deadpan dark comedy, which is miscalculated on almost every level.
  9. Other People’s Children is a moving rumination on the pains caused by the unbudging pillars of traditional parenting. It is a rare offering in its enlightened kindness, and a heartbreaking one, too.
  10. This is the director at his tenderest.
  11. The film comes to life when Majors and Powell are in the air. Dillard and cinematographer Erik Messerschmidt make the sky feel vast and alive, threatening to swallow up Jesse and Tom at any moment. Along with the film’s thrilling flight scenes, Majors is the biggest draw of Devotion, showcasing his distinctly masculine vulnerability to portray a man as strong as he is silent.
  12. Though the film starts and finishes with swaggering demonstrations of politicized revolt, the rest lapses into the conventions of a genre fatally attached to them.
  13. Butcher’s Crossing is a gorgeous travelog. It’s also a warning about what happens when people fail to tread lightly in the natural world, both as a consequence of nature and themselves.
  14. Perhaps it worked better as a theatrical endeavor, but the result is a film that feels like a collection of familiar hospital set storylines thrown together without a true compelling throughline.
  15. Regardless of its minor flaws, Berger and his crew have crafted a faithful and heart-wrenching adaptation that fully realizes the novel’s trenchant anti-war themes.
  16. Anchored by Kendrick’s best performance in years and Francis’ incisive script, Alice, Darling is a visceral, deeply felt clarion call, not just for more awareness of the signs of emotional, intimate partner violence but also as a reminder to those who have experienced this abuse to allow themselves some grace.
  17. At its best, Pallaoro’s quiet film wields the paradoxical power of cinema to create pure illusion.
  18. Unpretentious and unassuming, but effective, Corbijn creates his own cozy, sleeve for these trailblazers to get their due and creates a must-watch for rockologists everywhere in the process.
  19. With Emily, Frances O’Connor has crafted a first film that feels like the work of an accomplished master.
  20. Peter Farrelly’s “The Greatest Beer Run Ever” isn’t so much a bad movie — though it’s certainly that — as an inexplicable one, a comedy/drama set in the Vietnam War that somehow believes it’s saying anything that hasn’t been said a million times already about that conflict, and far more skillfully.
  21. Both stars were evidently tempted by the promise of a “meaty role,” taking that concept to mean one that entails a lot of acting instead of complex acting. As the intrigue builds, both characters lose the multi-dimensionality that should be growing deeper and richer, reduced from individuals working within a system they must also oppose to a more basic cat-and-mouse dynamic.
  22. The double character piece excels most when Neugebauer does her thing and facilitates her actors. Together, they build a pair of utterly real people, nonetheless confined to a dramatic universe more prone to contrivance. But the pleasures of the former generally outweigh the irksomeness of the latter, with Lawrence and costar Brian Tyree Henry joined in as a super-generator of onscreen magnetism.
  23. The picture clangs clumsily for stretches, particularly in its second half; Selick is trying to merge the doomy darkness of “Coraline” with the high spirit and good humor of “Nightmare Before Christmas,” and they don’t always mix.
  24. A Jazzman’s Blues is a passion project that climbs close to the edge of becoming self-indulgent fodder. The film is never as deep as it thinks it is. Nor is it terribly original either. But for Perry, this is a massive change. And while you shouldn’t praise a director for merely trying. Perry does more than try with “A Jazzman’s Blues.” He finally shows that he’s not a one-trick pony.
  25. As a visual offering, The Silent Twins has moments of sheer, raw imaginativeness. As a worthy study of the two central characters, sadly, it lacks the same level of vision.
  26. Everything on the menu of The Menu looks good enough, but once its moldy tirade against the one percent has been fully dished out, it’s plain to see there’s not a whole lot of meat on the bone here.
  27. Diop’s Saint Omer doesn’t condescend to the viewer by slinking toward black-and-white offerings of good and evil, or broad statements about race or gender. This ripped-from-the-headlines narrative accomplishes a feat far more creative, and a bit less forced. It dances on the surface of these participants, and in their subtle ripples, to reveal the humanity in the seemingly inhumane.
  28. Confess, Fletch is an absolute pleasure – the mystery is a corker, and I giggled from beginning to end.
  29. Styles, night and day here compared to his work in that other fall release, wonderfully inhabits a working-class man fearful of public scrutiny but unable to hide his true self.
  30. Catherine Called Birdy is delightfully witty, irrelevant, and modern-minded while carefully dodging the self-satisfaction and smugness that those descriptors can conjure up.

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