indieWIRE's Scores

  • Movies
  • TV
For 950 reviews, this publication has graded:
  • 74% higher than the average critic
  • 2% same as the average critic
  • 24% lower than the average critic
On average, this publication grades 12.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 75
Highest review score: 100 Green Room
Lowest review score: 0 Mother's Day
Score distribution:
  1. Negative: 39 out of 950
950 movie reviews
  1. Go For Sisters, like the filmmaker's previous features "Amigo" and "Honeydripper," sustains a feeble premise with richly defined characters and strong performances, yielding an underwhelming but nonetheless sustainable viewing experience.
  2. Call it a Shakespearean catharsis or just call it a lark -- either way, the movie represents Whedon's least essential work, regardless of the material's inherent comedic inspiration.
    • 42 Metascore
    • 58 Critic Score
    If anything, The Adderall Diaries is worth seeing for the ways it challenges the audience to examine and take responsibility for their own personal narratives.
  3. W.E. is less outright bad than underwhelming; if the director were unknown, it would hardly deserve notice. Like her first film, the 2008 "Filth and Wisdom," it suffers from countless storytelling flaws.
    • 70 Metascore
    • 58 Critic Score
    Part of the problem with Merchants of Doubt is also part of its own argument: You can't reason someone out of a position they didn't reason themselves into, and a dispiriting number of people are less interested in facts than they are in confirming their own biases.
  4. Although Farr layers on the creepy until the last frame of The Ones Below, the film's ultimate reveal is hardly shocking, and that the film spends a gratuitous amount time unspooling it long after it's clear what has gone down feels indulgent and unearned.
  5. Though ultimately unsuccessful, it valiant reaches for a funky, wild critique of hedonistic sluggards wandering through society with no clear direction. But more than anything else, it delivers Keanu in his element.
  6. By no means a great piece of filmmaking, Blood Father nevertheless recaptures some of the rough attitude of Gibson's "Mad Max" days, as he shoots, growls and head-butts through a routine tale of angry drug lords.
    • 48 Metascore
    • 58 Critic Score
    Barker-Froyland's intention was clearly to make Song One all about music and how it can bring people together. But the result is all about Anne.
    • 59 Metascore
    • 58 Critic Score
    Trevorrow, like so many directors given the responsibility of delivering a straightforward blockbuster designed to satisfy bottom-line expectations, struggles to find the balance between silly and serious.
  7. The movie is constantly at war with attempts to provide an honest portrayal, almost as if its subject were reaching beyond the grave to steer any negativity back in the direction of a hagiography.
  8. Melissa McCarthy is hilarious in every scene of The Boss, but the movie rarely keeps up with her.
  9. While its bleak assessment of American intelligence operatives imbues the story with some modicum of topicality, the specifics never keep pace. The movie becomes a bland action-drama lacking the sophistication to deal with its weightier themes. As a promising endeavor hacked to pieces, the movie's fate mirrors its anti-hero's own failed ambition.
  10. Having laid out the scenario, Brandt drags it through the motions of a tired procedural.
    • 75 Metascore
    • 58 Critic Score
    While The Trip to Italy offers all the pleasures of a posh holiday accompanied by two of the most inventive comedians today, the improvisation here lacks the total unexpectedness that the first enjoyed.
    • 56 Metascore
    • 58 Critic Score
    Akin ultimately fails to make the material work, especially in the second half of the film, when it develops into a disappointing adventure story.
  11. Even as it celebrates the spirit of committed journalism that rises above the powerful forces designed to contain it, Kill the Messenger displays the same anesthetized quality that Webb's dedication to his job was meant to counteract. Renner is a different story.
  12. A loud, visually assaultive assemblage of genre tropes as technically accomplished as it is difficult to watch, "The Strange Color of Your Body's Tears" has plenty to impress while simultaneously offering so little.
  13. By virtue of its style and high stakes scenario, End of Watch is impressively tense, but then so are most episodes of "COPS," which don't suffer from the forced melodrama found here.
  14. In between the meandering exchanges lies an unquestionably thoughtful interrogation of a broken system.
  15. A supremely dense coming-of-age drama steeped in weighty blather at the expense of emotional validity.
  16. The mystical allure of this long-awaited "lesbian werewolf movie" turns out to have more value than the real thing.
  17. Ellen Barkin puts on a bold, candid performance in Cam Archer's Shit Year, but the enigmatic movie is composed of too many fragments to sustain her efforts.
  18. Those expecting a balanced perspective might be tickled by the couple's chemistry but disappointed when the film opts not to make that relationship more central to the plot.
  19. Trumbo works well enough as a general survey of Trumbo's life and career, a primer on a complicated man who endured a terrible injustice, but it fails to really engage with the material, to dig deep for significant themes and salient meanings
  20. By its later scenes, Chef only finds respite from its bland qualities through the scrumptious-looking dishes constantly on display. As self-indulgent vanity projects go, this one's pretty innocuous, if only because it's always easy on the eyes.
  21. Magic in the Moonlight belongs to the pool of lesser Allen comedies, yet Firth and Emma Stone — as the alleged necromancer Sophie Baker, the object of Stanley's scrutiny and eventually his affections — bring all the zany energy they can muster.
  22. Like its tattered setting, The Rover is scattered with intriguing ideas never successfully fleshed out.
  23. Expert craftsmanship can't rescue Triple 9 from the constant feeling of a pulpy remix.
  24. While Redford frames the drama with a tense atmosphere, it doesn't shake the sense that we're watching a tame made-for-TV affair.

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