The Playlist's Scores

  • Movies
For 2,478 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: 65
Highest review score: 100 Upstream Color
Lowest review score: 0 America: Imagine a World Without Her
Score distribution:
2478 movie reviews
    • tbd Metascore
    • 67 Critic Score
    The Ranger is a few degrees off of being great; its villain is way too confused and ill-plotted for the film to be anything other than periodically fun.
  1. The world of the film is bracingly immediate and constantly overflowing—dubious sound design or a shift in image quality, while glaring, can’t puncture the holistic nightmare of Matti’s vision.
  2. Aside from its phenomenal script and performances, Night Comes On delights with stunning visuals.
  3. Anarchic and daring, Never Goin’ Back is a tale of adolescent female friendship that is somehow ballsier than your standard dude-driven buddy comedy. Frizzell’s film is as fearless as her heroines, and it refuses to judge them for their bad behavior.
  4. Our House, doesn’t set its ambitions much higher than the VOD market, and its haunting is passable if not all that spooky.
  5. Pulling off an ambitious mash-up of genres like Good Manners is no easy feat — that Dutra and Rojas pull it off so successfully suggests we’ll be hearing a lot more from them down the road.
  6. Hot Summer Nights is unconventionally amusing, spits in the face of its own flaws and somehow manages to impress by atmospherically rendering the emotions tied to the trappings of young adulthood. At it’s best, Hot Summer Nights is an admirable attempt at summertime antics void of a happy ending.
  7. Age of Rage doesn’t ever chart any new ground. It settles with serving as yet another incendiary portrait of hate in this time of division.
  8. Blisteringly caustic as ever, John Lydon nevertheless reveals himself as an occasionally sentimental sort in Tabbert Fiiller’s fitfully revelatory and charming documentary.
  9. Unfortunately, the tendency of Voyeur to tilt towards comedy undermines the weight of its story.
  10. The Third Murder functions well as a topical genre detour for the acclaimed director, but a degree of incongruity between the demands of the procedural formula and Kore-eda’s usual languid pacing keep the film from reaching the upper echelons of his greatest work.
  11. Teen Titans Go! To the Movies is one of the biggest surprises at the movies this summer. In fact, it’s downright super.
  12. By the time Jarecki is done with Elvis, the lanky, and projects-raised, rockabilly kid just one generation removed from sharecroppers has been cast as everything from an opportunist and grasping capitalist to addled addict to just plain sucker. If he ever was the King, the movie suggests, it’s long past time to retire the crown.
  13. Izzy Gets the Fuck Across Town is a well-made showcase for its talented star. And while it doesn’t quite establish Papierniak’s directorial vision, it does hint at what that might be. It’s a fun hour-and-a-half, inessential but entertaining nonetheless.
  14. Director Tim Wardle’s film is full of surprises, the least of which is its own dramatic shift in tone from wildly entertaining to absolutely disturbing.
  15. This Is Congo has a point to prove and a righteous fury with which to prove it. But it’s focused and precise, which makes the sheer breadth of context required to understand it much easier to digest.
  16. With suburban normalcy ultimately derailed by a suitably cynical, albeit humorous resolution, the final actions these neighbors take contribute to a far more meaningful message regarding the unsympathetic tendencies of humanity. Moreover, the measures taken by these feuding characters underlie the ruinous ways in which grief, hysteria and mental illness as a whole continue to be approached by society, especially by our own family members and neighbors.
    • 49 Metascore
    • 50 Critic Score
    Hill assembles a strong cast, and they are immensely watchable throughout the film, but it’s short on big laughs, never as compelling as it should be and lacking dramatic consistency.
  17. This affectionate portrait avoids the major pitfall of comparable docs like Asif Kapadia‘s “Amy” or Kevin Macdonald‘s recent “Whitney” in that it steadfastly refuses to make Williams’ death the defining aspect of his life.
  18. Fuqua’s movie, unqualified to create anything other than superficial poignancy, is empty, tiresome and uninteresting, satisfied with repeatedly communicating that if you exploit the innocent, harm the oppressed or abandon your code of conscience, Robert McCall will be there to set things right and severely punish you several times over.
  19. This is not a good movie – but that doesn’t mean that it’s not a good time.
  20. There’s nothing particularly special about Siberia, but with a winning Keanu Reeves performance, it maintains enough moment-to-moment suspense that it just might be enough to satisfy moviegoers yearning for a throwback genre film.
    • 69 Metascore
    • 50 Critic Score
    In a film lacking in nuance, Mozdah brings needed depth to her performance.
  21. This horror film lacks the freshness of its predecessor, but its bleak view on humanity and technology, as well as some truly unsettling ideas and visuals, still set it apart from most of its fellow studio genre fare.
  22. There’s a delirious joy in watching this much action, this well executed at every level.
  23. Hollywood has been showing people hanging off of things for over 100 years, and if that’s something you enjoy, Skyscraper is the pinnacle of this trope, forcing The Rock to dangle, hang, and swing at insane heights above the street time and time again. This is the MO of the whole movie, taking things that have worked before and pumping them up to The Rock-sized spectacle; it’s not too original but it provides what it promises.
    • 54 Metascore
    • 25 Critic Score
    The First Purge— for all that it could have said about race and class in America— is perfectly content to provide the bare minimum and deliver some cheap thrills. And in doing so, the thrills come at the expense of the seemingly sharp points, now blunt, no longer cutting deep and drawing blood like they used to.
  24. This is an assured, confident feature-directing debut for Zagar who shows great promise in his ability to render a confident and brilliant work of art from difficult-to-adapt source material. His film is a complicated coming-of-age tale that not only brings refreshing insights but gives us beautifully rendered images that have the power to haunt you for days.
  25. It’s an inferior, often frustrating film, it’s hard to root for, and its consideration of its people of color is dubious, even as it features them as protagonists. But nonetheless, there’s some value, especially in is visceral qualities and the chilling nihilism of its violence.
  26. Ant-Man & The Wasp somehow manages to organize laughs, action, theme, small MCU connections and even fairly touching ideas about family, responsibility and what it means to be a hero all housed inside of an undersized blockbuster.

Top Trailers