The Playlist's Scores

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For 4,876 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 1.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 Days of Being Wild (re-release)
Lowest review score: 0 Oh, Ramona!
Score distribution:
  1. Positive: 3,041 out of 4876
  2. Mixed: 1,320 out of 4876
  3. Negative: 515 out of 4876
4876 movie reviews
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  1. Side Effects
    The picture's conspiratorial late-night tone and fleshy after hours luridness was practically built for watching at night, when our parents think we've gone off to bed (think '80s films directed by folks like Adrian Lyne).
  2. Somebody Up There Likes Me
    Each scene is a brisk vignette of deadpan reversal, often involving a running theme of miscommunication.
  3. Bullet to the Head
    This film feels like one you discover late at night and watch for ten minutes before remembering you've already seen it, and yet we still kinda loved it.
  4. Sound City
    A vibrant and vital tribute to a piece of recording and rock history that could have been lost to the ether, and Grohl packages the story of this little studio with a detailed celebration of the craft and skill necessary to this kind of recording, all with a killer soundtrack (which should go without saying).
  5. Stand Up Guys
    It's like stocking a team with proven performers and hoping that everything else will work itself out at the end, including a rickety script, indifferent direction, and a plot that pretends its final act is anything other than a cliché-hugging inevitability.
  6. Warm Bodies
    Playing with genre is fine, but if you're going to create new rules, you have to play by them too, but unfortunately Warm Bodies continually subverts its own internal logic and basic, believable character motivation to keep pushing the movie along.
  7. Parker
    This newest film is an undercooked potboiler, one so tastelessly bland and visually indistinguishable that you wonder if anyone associated with the project realized what makes cheapo crime fiction so fun to consume.
  8. Hansel and Gretel: Witch Hunters
    Not only is not even a single character more than one-dimensional, but every line falls flatter than a witch dispatched with a Gatling gun.
  9. Supporting Characters
    There is a lived-in quality to Supporting Characters that comes from either a strong cast or days of rehearsal – unclear as to whether they had the latter, though they definitely have the former.
  10. The Taste of Money
    A gloriously decadent, gorgeously photographed melodrama – a movie where people burst into tears and act very badly towards each other, all while wearing really fabulous clothes.
  11. Movie 43
    An oddity recommended for only the most fervent, undemanding comedy junkies.
  12. Knife Fight
    For those of you who felt "Ides Of March" was entirely too cerebral and challenging, here comes the dunderheaded Knife Fight. A political satire that treads no new ground, this name-heavy comedy wastes an engaging central performance by Rob Lowe.
  13. Broken City
    There are filmmakers who are able to weave social commentary through the arena of big budget entertainment, without having it come across as lopsided or boring; Allen Hughes, it turns out, is not one of these filmmakers.
    • 57 Metascore
    • 33 Critic Score
    Mama
    By the time the ridiculous child psychologist character encounters a government employee with a convenient bounty of useful information, Mama just becomes laughable, then annoying.
  15. The Last Stand
    The Last Stand delivers -- up to a point. Keep those expectations reasonable and try not to be disappointed.
  16. A Haunted House
    The film similarly boxes itself in when it feels the need to mimic the third-act occurrences of "Paranormal Activity" when it's obvious that improv had the film going in an entirely less predictable direction, clearly pointing out the fallacy of A Haunted House: you can't parody something and also try to emulate it as well.
  17. Gangster Squad
    In lieu of any sharp insight into the period and its notorious figures, the film's brash, ultraviolent encounters instead build a showy exterior with nothing of import left standing.
  18. Quartet
    Quartet is a hard film to dislike entirely, thanks principally to the charms of its cast.
  19. Tabu
    Charming, witty, beautifully shot and inexplicably captivating.
  20. The Guilt Trip
    Overall, there is a fundamental lack of excitement or energy; it's a 95-minute movie that feels twice as long as "The Hobbit."
  21. The Impossible
    The Impossible strikes an insincere tone, one that doesn't let the obviously powerful moments stand on their own, but instead follows the beautiful Hollywood stars to safety, while the real story is left on the ground.
  22. Not Fade Away
    Though not a poor effort per se -- David Chase's Not Fade Away does authentically captures the heart and soul of the music of the era and the intoxicating/naive dream of making it big -- the picture isn't exactly a remarkable one either.
  23. Amour
    Amour is nevertheless the work of a filmmaker who isn't afraid to ask the big questions about human nature, and coming out of Amour it seems the director has hope for us yet.
  24. On the Road
    If there's one thing that wounds On the Road, it's that the film is full of things -- having sex, doing drugs, being free -- that are far more enjoyably experienced by one's self as opposed to watching other people enjoy them on screen.
  25. Barbara
    Though maybe a bit too stiff and straight-laced, Barbara is a frequently subtle, moderately interesting character study set in a grievous East Germany during the 1980s.
  26. The Girl
    Anyone who finds this conclusion a humanistic or socially reprehensible dealbreaker can hardly be faulted. Before these questionable issues come to a head and then falter in the finale, there is a lot of value in The Girl.
  27. Jack Reacher
    In terms of pure pop entertainment value, you'll be hard-pressed to find a more smartly constructed, beautifully shot, pulse-pounding movie this holiday season.
  28. This Is 40
    Apatow indulges in his freeform tendencies to a particularly destructive degree with This is 40, resulting in a movie in which the ambitions are only equaled by the shortcomings.
  29. Any Day Now
    Like another Tribeca hit given a quiet release, last year's "Puncture," Any Day Now feels the need to take its compelling true story and stack the deck in favor of what we know is the outcome, presenting all obstacles as engineered by sneering, callous villains with disdain for those who would trumpet a more progressive cause.
  30. Django Unchained
    It's not particularly funny or moving and it's terribly self-indulgent. Flamboyance and cartoonishness rule, there's hardly a moment of genuine emotion, and most overtures in that direction are superficial. As a picture ostensibly about love, revenge and the ugliness of slavery, Django Unchained has almost zero subtext and is a largely soulless bloodbath, in which the history of pain and retribution is coupled carelessly with a cool soundtrack and some verbose dialogue. Though it might just entertain the sh.t out of the less discerning.
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