The Playlist's Scores

  • Movies
  • TV
For 3,279 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 1.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 66
Highest review score: 100 The Mermaid
Lowest review score: 0 The House That Jack Built
Score distribution:
3279 movie reviews
  1. There’s a great film waiting to be made about the opioid crisis. But much like “Hillbilly Elegy,” “Cherry” can’t conjure up the cause and the toll of the devastation without relying on pastiche. Even the ending, meant to be a moment of healing, reduces Cherry’s concluding journey to a mere saccharine montage.
  2. It’s a mixed-at-best effort with a strong lead performance, but one that ultimately cannot honor the legendary song (or singer’s life) it takes most of its emotional and spiritual cues from.
  3. Look, America certainly needs relief, support, escape, and laughter, yes, but good god, ‘Barb & Star’ is not it.
  4. It’s doubtful you’ll be shocked by any major event in the film, but it’s the ability of The Map of Tiny Perfect Things to surprise you with the emotional resonance that ends up being its biggest strength
  5. No, it doesn’t make much sense. But holy shit, it’s a wild-ass ride.
    • 61 Metascore
    • 67 Critic Score
    PVT Chat is a nasty, unflinching, discomfitingly watchable experiment that, if nothing else, proves once again that Julia Fox should be in all the movies, all the time.
  6. This movie is literally and figuratively saying music can save your life, but the execution is all treacle and dust—overly sweet and utterly empty.
  7. Mostly compelling but unfocused, Wild Indian dips its narrative feet in a slew of themes, all worthwhile, and doesn’t commit to any of them as its guiding star in the murky sky of its ambition. As the filmmaker tries to bind all of the moving parts, the whole turns scattered-brained and structurally disjointed.
  8. For a movie about the inequities inherent in both parent/surrogate relationships and expecting father/expecting mother relationships, the stakes hover surprisingly low in the plot stratosphere.
  9. Beneath the layers of fuzzy frequencies, feverish absurdism, and kaleidoscopic tints lives an inconspicuously poignant movie about existentialist dread, the very human need to reduce the noise, and the genuine longing for connection in a chaotic, jumbled up world.
  10. The entire ensemble rolls with the fast punches. And Crosby and Knapp show real comedic potential. But First Date takes too many big bites without the ability to digest any of its gummy sweets. Crosby and Knapp’s First Date, an at-times hilarious California pleasure trip, dissolves under the weight of its self-evident ambition.
  11. One of those movies that starts off so well, that shows such promise, that its slow unraveling feels less like a disappointment than a betrayal.
  12. Filled with fascinating yet long-forgotten anecdotes ... "Street Gang" ultimately focuses on the correct subject: the artists and educators who made "Sesame Street," and how much of its power and influence seems an outgrowth of the unique chemistry created by those specific people, at that specific moment.
  13. Transmitting such a deep and moving paean of a band, the music they’ve created, the complex humans behind it, and bow-down respect for the long-haul resilience they’ve demonstrated over years of ups and downs, Wright presents a movie like a superdeluxe mixtape gift, adorned with loving attention to detail, gorgeous artwork, footnotes, and other bells and whistles, that is extremely easy to fall head over heels for regardless of your conversant knowledge of the band or its odd, but catchy music.
  14. No one would deny Sisto clearly has a vision of what he’d like to accomplish and shows flashes of humor here and there, but the almost overt influences of any number of other filmmakers (Michael Haneke, ‎Yorgos Lanthimos, and Sean Durkin immediately come to mind) have the cumulative effect of making the proceedings feel numbingly familiar.
  15. Ulman’s black and white freshman feature is an absurdly and assuredly packed jack-in-the-box that’s short, sweet, and, incidentally, a quirky sharp, vainglorious commentary on these post-crisis, Robinhood Redditor times.
  16. The Dog Who Wouldn’t Be Quiet is a visually realized film with perhaps too much on its mind for its limited runtime.
  17. What’s strikingly revolutionary in Pleasure is how Thyberg’s gaze provides Bella’s story much-needed context by embracing the mundane aspects of this particular world.
  18. It’s not very good except sometimes when it’s fantastic.
  19. With an incredible ensemble and an elegant eye, Hall’s Passing is a high-wire act of a debut that tackles its several thorny issues with nary a scratch.
  20. King comes so close to rendering Hampton’s life and legacy anew for a younger generation. But for all of the film’s eloquent crafts and the audacious performances from a deep ensemble, which includes an under-sung Dominique Thorne as Black Panther member Judy Harmon, Judas And The Black Messiah doesn’t fully encapsulate either its Judas or its messiah.
  21. A good movie exists in On the Count of Three. But a film with such challenging subject matter needed a more experienced director capable of shading the dark comedy and the heartfelt spirit with an assured visual hand.
  22. For a good hour of the film’s running time, Kranz’s restraint is admirable, his script allowing his four superb actors to find and flesh out their characters, so it feels like we’re watching people, not merely a situation. Each of the four manages the changing colors of their monologues.
  23. Despite some pretty vistas and a typically watchable performance from Wright, Land proffers rather too tidy a reiteration of things the movies taught us long ago, about how embracing life means embracing pain and how it’s only through connecting to others that we can truly know ourselves.
  24. Ascher’s appropriately discombobulating stew of queasiness, comedy, and terror seems well-cued to the subject matter, even while missing a certain editorial sharpness that might have brought some of its notions into greater clarity.
  25. The film’s lived-in craftsmanship provides structure in an unstable world. Collins’ superb performance gives it soul.
  26. “How It Ends” is not actually an end-of-the-world film at all; here, the Apocalypse is just a well-shucks excuse for a bunch of yak sessions between goofy (but attractive!) oddballs doing quirky shit and Speaking Their Truths on an accelerated timeframe. With all due apologies to the plants, animals, and 7.5bn other souls about to be incinerated in a doomsday fireball, #teammeteor.
  27. In the Earth isn’t a complete washout; there are moments of bleak humor, genre fans will enjoy the striking imagery and gross-out shivers, and the director has an undeniable gift for setting and maintaining a mood (he gets a big assist on the latter from Clint Mansell’s synth score). But ultimately, it’s kind of a slog.
  28. To say it’s a stellar feat of cinema is something of an understatement.
  29. To watch Cryptozoo is to open a Disneyland-size kingdom of ideas that never cease to astound.

Top Trailers