Indiewire's Scores

  • Movies
  • TV
For 1,403 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 9.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 72
Highest review score: 100 Green Room
Lowest review score: 0 In Secret
Score distribution:
1403 movie reviews
  1. Jason Bourne adheres to an existing format so robotically that it never manages to surprise or engage for longer than the occasional passing moment.
  2. It amounts to little more than frothy summertime entertainment—occasionally fun, but almost immediately forgettable.
  3. Unfortunately, while Julianne Moore and Ellen Page go great lengths to make the central romance convince, Nyswaner's undercooked script and Peter Sollett's direction have the opposite effect, reducing Freeheld to a tired formula.
  4. Every original drop of Bleed for This is lost in a sea of cliché and convention, and Younger seems totally incapable of separating the singular verve of his protagonist from the hackneyed arc of his defining ordeal.
  5. Though born of an inventive idea, Camera Obscura comes out underdeveloped.
    • 54 Metascore
    • 50 Critic Score
    Eubank’s talent for creating impressive worlds with few resources is the movie's strongest aspect, but the concept feels like a never-ending exposition of technique without sufficient depth.
  6. Shows none of the edgy storytelling looniness present in Stiller's finest work. Instead, every element seems calculated to service an easygoing commercial product that plays up the sentimentality of the scenario while rendering it inoffensively bland.
  7. The movie's uneven tone and ridiculous twists never quite gel, but Knock, Knock is so eager to please that it's hard not roll with the absurd depravity on display — which has been the essence of Roth's appeal from the outset.
  8. Hooper's approach comes across as the equivalent of sitting in the front row of a stage play while the entire cast leans forward and blares each song into your eardrums.
  9. Page and Wood navigate this difficult, often half-formed material with great tenderness and surgical precision — together, through thick and thin, they convey a feeling of great personal growth, revealing new wrinkles to their roles long after Rozema’s camera has stopped looking for them.
  10. The premise begs to provoke contentious debate around privacy laws in an age of boundless innovation, but it can’t seem to find steady footing in that dialogue, in part because it lacks a substantial means of asking the right questions.
  11. A well-intentioned and resolutely minor period drama, "Big Eyes" isn't exactly a catastrophe, but its bland depiction of a fascinating story perhaps better served by the documentary treatment shows no evidence of the visionary creator behind the camera.
  12. Welcome to the world of white people problems, ground zero for the strain of American comedies that Apatow does best. But does he really?
  13. The younger Mann goes through the motions of a gritty murder mystery with plenty of technical proficiency but only a modicum of soul. The Mann touch is not only in the DNA of the director but in her movie, which inadvertently makes the case that atmosphere is more hereditary than innovation.
  14. The actor's pathos and deadpan skills are buried in the material, which also suffers from a continuous lack of inspiration. It's high-minded entertainment with low ambition.
  15. A lazily plotted and largely generic thriller.
  16. Portman's screenplay shortchanges the dramatic potential of the material in favor of a by-the-numbers period piece.
  17. Qhile the 90-year-old Pennebaker doesn't appear to deviate from the observational aesthetic that has defined his life's work, Unlocking the Cage is nevertheless an ill-fitting first for he and his partner: an issue-based film.
  18. Sarah's need to save her brother provides the initial raison d'être, but with the mystery is resolved early on Sarah's Key turns into a flimsy meditation on grief.
  19. It's painful to watch Red Hook Summer stumble, because the man behind it has tried so hard to get his groove back. However, it's energizing in the fleeting moments when he does just that.
  20. Aftershock has no earth-shattering revelations to make its mayhem stand out in the wreckage.
  21. Benoît Jacquot’s The Diary of a Chambermaid is a gorgeously mounted and dramatically inert bit of fluff that drapes itself over a smoldering Léa Seydoux but never manages to catch fire.
  22. Sandberg unquestionably has an eye for a great horror motif — and, given the frequent use of absolutely gut-churning ambient sounds and hair-raising scratching noises, an ear for it, too — and he’s assembled a strong cast to tell Heisserer’s expanded story, but even those smart decisions and clear talents can’t push Lights Out to brighter heights.
  23. There's nothing slick or entertaining about the crumbling existence of Pomes' unsalvageable antiheroes.
    • 41 Metascore
    • 50 Critic Score
    While it has a few appealing qualities, as a whole it amounts to a well-intentioned bag of missed opportunities.
  24. The action scenes in Machine Gun Preacher work fine on their own, but they cheapen a work that attempts to command great importance.
  25. There's an undeniable anthropological value to Allen's footage — imagine if one of David Koresh's most-trusted disciples had recorded every second of his time in the Heaven's Gate — but his film is far more compelling as an artifact than it is as a narrative.
  26. A blood-soaked, bone-crunching hymn to religious devotion and faith, Hacksaw Ridge doesn’t hum Mel Gibson’s favorite themes; it shouts them.
  27. The film arrives at its last shot with a sense of purpose, but Cedar’s clumsy plotting and uncharacteristically sterile compositions suggest that he’s charted the least enjoyable route to the film’s satisfying finale.
    • 62 Metascore
    • 50 Critic Score
    Split avoids being entirely tedious thanks to McAvoy’s standout performance as he cycles through those personalities, sometimes from line to line.

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