Indiewire's Scores

  • Movies
  • TV
For 1,492 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 9.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 72
Highest review score: 100 The Last Detail
Lowest review score: 0 Pixels
Score distribution:
1492 movie reviews
  1. This morbid film takes body horror to a new level, but leaves its brains behind.
  2. Slow West certainly makes a valiant effort to reach beyond expectations of its genre, even leaving room for some welcome tongue-in-cheek humor when it's least expected. But at the end, all its waffling between various stylistic touchstones fails to hold much interest.
  3. A Hologram For the King never congeals into a single, involving story.
  4. A mawkish coming-of-age story that marries Sundance vibes with a soft punk spirit, Peter Livolsi’s The House of Tomorrow never manages to flesh out its skeleton of quirks, but its heart is definitely in the right place.
  5. Kong: Skull Island may include some clever period details and idiosyncratic asides, but it’s largely a blockbuster B-movie less interested in depth than scale.
  6. It's a period piece composed of familiar pieces, none of which have much to say beyond surface elements that have been explored countless times before. Using a typical coming-of-age mold, Chase turns cultural ephemera into formula.
  7. This whirling vortex of dysfunctional friends and acquaintances feel like an unfocused and self-absorbed melange of frustration. It’s a parade of broken people, connected only by their fruitless pursuits of happiness.
  8. Marred by excessive sentiment, it has a buoyancy and a hook that makes it stand out -- but they're elements that would help it kill on Broadway (as it already has on the Australian stage) a lot better than it does onscreen.
  9. In theory, Election Year offers a form of catharsis from contemporary anxieties by turning them into entertainment. Instead, this latest entry in a ridiculous franchise has become a victim of its own sick joke.
  10. This tame exercise never quite jives and sometimes just bombs with one-note melodrama, but always maintains Thornton's conviction about the material.
  11. Lee often seems unsure of whether he's directing a comedy or a civics lesson, and the film only finds its wings in the moments when he realizes that the two don't have to be mutually exclusive.
    • 45 Metascore
    • 58 Critic Score
    In American Assassin, the violence is surprising and brutal. However, its impact is stymied by a predictable script and action sequences that feel like a watered-down version of “John Wick.”
  12. At a time when calls for diverse media dominate the industry, Hidden Figures hedges its bets with a family-friendly commercial solution: warm and fuzzy storytelling that’s both progressive and safe.
  13. It's one thing to make a minor, accomplished work after focusing on grander statements, but Julieta mainly disappoints because it feels like the kind of straightforward, unadventurous drama that the filmmaker generally excels at reinventing through his own peculiar vision. This time, he plays it too safe.
  14. Jupiter’s Moon is no simple story of escape, in part because Mundruczó’s script (co-written with Kata Wéber) has no real idea where it’s going.
  15. Whereas "The Avengers" felt like a reimagining of the paradigm for superhero movies, Age of Ultron has air of a rerun. Though impressively made and visually remarkable, it suffers from the hollowness that plagues so many blockbusters carrying the sense that we've been through this before.
    • 60 Metascore
    • 58 Critic Score
    Can Anna Kendrick save the movie musical with The Last Five Years? The answer is no — and yes.
  16. The director’s instincts are a bit too broad to sell the full psychic horror of this scenario, and Taylor-Johnson will never be accused of being able to shoulder a movie by himself, but a super coherent sense of space and a vivid feel for the environment help The Wall to remain upright to the end.
  17. Small touches point to a slightly better movie hiding beneath most of the routine, particularly the respectable finale that stops just short of the clichéd resolution expected of it. On the whole, however, The Way, Way Back dances to a tune we've heard too many times before.
  18. It’s a dazzling showcase of fantasy-based filmmaking in the 21st century that also manages a feeble attempt at injecting feminist politics into an antiquated narrative. Yet its eventual climax strains from the obviousness of these efforts.
  19. Despite some clumsy moments, My Big Fat Greek Wedding 2 handily revives the first movie's appeal.
  20. It never crystallizes into a singular experience, and instead collapses in a rush of well-intentioned innovations.
  21. On Chesil Beach offers up so many tricky tonal changes, enough that Cooke eventually gives them over to a single note: limp.
  22. As ghost stories go, this one's done just well enough to provide reminders of how it has been done better.
  23. Not only is “Rogue One” the rare modern blockbuster that could have afforded to risk something real, it’s the rare modern blockbuster that gave itself a genuine responsibility to do so. And yet, for all of its excitement and occasional splendor, there’s nothing the least bit rebellious about it. It could have been special, instead it’s just… forced.
  24. It’s an amenable enough ramble of a romantic comedy, and Witherspoon is as charming as ever in the genre in which she excels.
  25. Ultimately, Robbins’ domineering character is so well-calculated that it appears Berlinger couldn’t peer beyond the curtain even if he tried. That fascinating dilemma makes the movie worth watching even though it presents an incomplete picture.
  26. The bone-crunching action and relentlessly blood-letting feels out of place, and as those sequences start appearing with more frequency, the film loses much of its rangy charm.
  27. If, for all of its godawful men, “Brimstone” has a hard time sewing its feminist fervor into anything more than a thin shawl over its bleak spectacle, this disturbingly watchable religious Western makes a solid case that hell is a place on Earth.
  28. Long-time fans of Joplin's music will likely not find much new material to relish in "Janis: Little Girl Blue," and if the film earns any new acolytes for the songstress, it will be the result of Joplin's own charisma, not of the presentation of the film built so shakily around her.

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