Indiewire's Scores

  • Movies
  • TV
For 1,373 reviews, this publication has graded:
  • 66% higher than the average critic
  • 3% same as the average critic
  • 31% lower than the average critic
On average, this publication grades 9.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 73
Highest review score: 100 Manakamana
Lowest review score: 0 A Dog's Purpose
Score distribution:
1373 movie reviews
  1. Special Correspondents is more about smirking sideways than it is laughing out loud, but it doesn't provoke much of either — it's one thing for Gervais to subdue his usual bark, but his bite has never been softer.
  2. Undrafted is a baseball movie that never wants you to forget that it’s about baseball, even if that reminder comes with lengthy dugout anecdotes delivered to teammates who are surprisingly indifferent to the outcome of a game that’s supposed to mean so much.
  3. If [LaBeouf's] ultimately powerless to make this film worth watching, his performance is a strong reminder that his work should never be taken for granted.
  4. Lee Daniels' The Paperboy is a rare case of serious commitment to outright silliness.
  5. Blitz manages to land the occasional punchline, but the smattering of decent jokes only call further attention to the film’s complete lack of rhythm.
  6. No matter how basic Hawkins’ book might be in comparison to some of the ones that came before it, it’s hard to argue that it didn’t deserve better than this, that any story so smartly attuned to the need for women to hear themselves and each other should be reduced to such flavorless swill.
  7. It’s hard to understand why Doremus, whose Sundance-winning “Like Crazy” was an effective reminder that emotion can be a narrative unto itself, would regress towards a story in which he renders that idea redundantly literal.
  8. The scenes where Creech and co are outracing the Terravex death squads are playful and inventive enough to provide a glimpse of what this movie could have been if it weren’t so remarkably bad in most other respects.
  9. Woefully inauthentic, milquetoast as a mild breeze and far too tidy for any of its sweeping resolutions to have even the faintest hint of staying power, The Hollars takes 88 minutes to inspire the same warm and fuzzy feeling that a Hallmark card can deliver in a heartbeat.
  10. By the time the entire town discovers that Clint is trapped in a weird hole and Lucy has fallen for Chatwin’s Rydell White, No Stranger Than Love picks up some serious steam, balancing its bizarre tone with actual charm. Sadly, however, it’s too late to pull the production out of its own gaping void: The inability to treat its characters with respect.
  11. A superhero film with no power and worse special effects that attempts to rewrite a story that's yet to be told effectively.
    • 40 Metascore
    • 33 Critic Score
    Equally hobbled by an amateurish script and vaguely defined characters, the movie's long list of mediocrities have an anonymous quality, as though the director has been completely reborn as a hack.
  12. Guided by an over-the-top Nazi hunter played by Judd Hirsch (clearly enjoying himself), Cheyenne begins a road trip through Middle American that goes nowhere, and Penn's mopey has-been routine starts to feel like a bad joke that just keeps getting worse.
  13. The Ward succeeds mainly as a checklist that keeps it consistent with Carpenter's nearly forty years of work. It has none of the smart genre appeal that put him on the map, instead resembling a desperate knock-off by someone with far less talent. Carpenter either lost his groove or the will to use it.
  14. Told with the gravitas of a comedy sketch and the edginess of the funny pages, Elvis & Nixon at least has the good sense to appreciate that its namesakes were larger than life, each walled off from the world in their own way.
  15. Instead of commenting on the vapidity of the film industry, Paul Schrader's miscast, poorly executed and utterly soulless drama is an example of the failing art form it seeks to indict. Though it has real ideas, Schrader and his team never manage to put them into action.
  16. Suicide Squad never has the courage of its convictions — it doesn’t own anything. At best, Ayer rents some pre-existing pop iconography and charges us $15 to watch him take it around the block for a spin. Forget the “Worst. Heroes. Ever.” These guys don’t even know how to be bad.
  17. If "Extremely Loud" came out in the weeks or months following 9/11, more audiences (and critics) might find an excuse to appreciate the way its soul-searching protagonist works through his grief. Ten years later, his struggle actually feels outrageously old-fashioned.
  18. Don’t be fooled by the lack of spandex: The Legend of Tarzan turns the Lord of the Apes into just another superhero, the newest movie about fiction’s greatest wild man memorable only for the dull irony of how housebroken it feels.
  19. Like any office Christmas party you’ve ever been forced to attend, it kind of feels a little bit too much like work to be fun, and — like any office Christmas party you’ve ever been forced to attend — it’s just a tiny bit too diverting for you to storm out before the whole thing crawls to its sad conclusion.
  20. Never quite sure where to put his cameras, Creevy attempts to compensate by placing them everywhere, and cutting between them as if at random.
  21. Perhaps just as disappointing as the haphazard storytelling is the squandering of a top-flight voice ensemble.
  22. Despite being rife with crime, sex and darkness, Manhattan Night feels increasingly like a cheap ripoff of the genre it so very much wants to fit into.
  23. The film's narrative is both plodding and predictable, and after the third or fourth battle sequence that leans so heavily on loud, thudding noises and swirling leather topcoats that it's impossible to see who is actually hitting who (and, moreover, why), audiences may be in danger of remembering just which "reimagined" fairy tale they're watching on screen.
  24. Mark Cullen’s ruthlessly boring and decidedly dismal Once Upon a Time in Venice marks a new low in Willis’ still-trucking action career, one that even Cage would likely flinch at, even if it does feature an entire sequence dedicated to naked skateboarding.
  25. It's a familiar mold: the perils of suburban discontent have been so thoroughly explored that The Details plays like a hodgepodge of familiar circumstances on an assembly line to disaster.
  26. Cheesy without being self-aware, hobbled by rampant transphobia that the screenplay’s too dumb to address, this inane burst of campy stupidity can’t get beyond the sheer absurdity of its very existence.
  27. I Saw the Light doesn't just fail to illuminate Williams' complicated life and his prodigious talent; it can't even capture the dark corners of a man with more than enough to peer into.
    • 44 Metascore
    • 25 Critic Score
    For a comedy of such misjudged tones, Rauch is best when she plays up Hope's dramatic tendencies rather than her comedic side.
  28. Not even Matthew McConaughey can sustain the mushy, amateurish story, which digs itself a deeper hole as it moves along. The established talents of both director and star only serve to magnify the many wrong moves that this stunning misfire takes.

Top Trailers