IndieWire's Scores

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For 1,785 reviews, this publication has graded:
  • 65% higher than the average critic
  • 3% same as the average critic
  • 32% lower than the average critic
On average, this publication grades 8.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 72
Highest review score: 100 Neon Bull
Lowest review score: 0 Bright
Score distribution:
1785 movie reviews
  1. If there’s any interiority to Fields, Toller isn’t interested in finding it; Danny Says would much rather provide the umpteenth account of Andy Warhol’s social circle (to mention but one of the movie’s many asides) than dig beneath the dirt in an attempt to learn more about one of the key figures who helped shape that scene.
  2. A well-intentioned but wearisome jolt of prefab holiday cheer.
  3. This may be a forgettable movie about the forgotten man — a blue-collar morality play disguised as a very contrived hostage crisis — but at least it’s shlock with something on its mind.
  4. This is irrefutably Kinnaman’s movie, but Connolly fatally undervalues him. He doesn’t trust his actor to walk the emotional tightrope his film stretches taut before him, to sell us on the idea of a father digging himself deeper into a hole of his own design.
    • 70 Metascore
    • 50 Critic Score
    Margherita's failure to elaborate on her grief is mirrored in Moretti's failure to construct a coherent film where the spectator can find a way into its meaning, rather than being caught in a confused web of suggestions, half-baked ideas and circular exposition.
  5. We’re left with something handsome but safe, a film that tries to bridge the gap between children’s characters and adult concerns without ever anchoring itself to either side.
  6. A clever but unformed hunk of speculative science-fiction.
  7. The movie is like one thin satiric lark inexplicably slowed down to the point of lethargy.
  8. Voyeur is framed as the story of one observer trying to clarify another, but Kane and Koury lose sight of their own film, which is really a story about two men so desperate to hear the sound of their own voices that they deluded themselves into thinking they had something to say. Voyeur falls right into their trap.
  9. At their worst, Affleck’s roles are stern and lifeless without soul, pretty sculptures with nothing inside. It was only a matter of time before he made a movie that embodied that lesser side of his career.
  10. Braff hasn't made another generational statement, but rather a regurgitation of tropes that got old a long time ago.
  11. Bogged down by flashbacks and flash forwards, The Bastards pointlessly mixes up its ingredients, creating a distancing effect from the tangible sadness at its core. The result is the rare case of a movie that confirms its maker's skill while wasting it on useless ambition.
  12. Maybe this is exactly the biopic that Kenney would want, silly and bittersweet and laced with regret. Unfortunately, the film is just good enough to convince us that he deserved better.
  13. When all the dust settles, we’re left right where we started, and with nothing to show for it but a fleeting reminder that peace is impossible without negotiation. It’s a lesson that history has failed to teach us, filtered through a movie that doesn’t understand why.
  14. [Dolan's] crafted the semblance of a substantial movie that never quite gets where it was supposed to go.
  15. Even as it makes the facile Palin-for-president case, fence-sitters will find themselves non-plussed and existing Palin haters won't budge.
  16. Aside from the thrill of its lavish sets and costumes, there isn’t much new to offer in this Beauty and the Beast.
  17. Capernaum is a movie that wants its audience to empathize with its protagonist so intensely that you agree he should never have been born. It’s a fascinating (if obviously counterintuitive) approach, but one that’s frustrated by the literalness with which Labaki unpacks it.
    • 46 Metascore
    • 50 Critic Score
    The original Planet of the Apes is a hard act to follow, and Beneath the Planet of the Apes isn’t really up to the challenge.
  18. Even Allen himself, appearing in front of the camera for his first role since 2005's "Scoop," looks a little lost in the mess.
  19. At times Midnight's Children balances off its earnestness with a sweeping view of history and tangible human drama, but the allegorical qualities of Rushdie's novel fail to translate as anything but a shrill, on-the-nose instance of thematic overreaching.
  20. For every moment of sick visceral genius (e.g. whenever Hernandez or Evoli are left to their own devices), there’s another of clumsy metaphor (e.g. the limp punchline of the movie’s final minutes).
  21. A handsomely furnished holiday movie that should have devoted more attention to its many ornaments and less to the tinsel at the top, this Murder on the Orient Express loses steam as soon as it leaves the station.
  22. Life spends its first act building up some big ideas, but eventually unravels into another monster movie in space.
  23. Gyllenhaal's alarmingly effective presence is enough to act circles around the soapy narrative of a fallen athlete's comeback so tightly that it crumbles in the very first act.
  24. While Meri Pyaari Bindu isn’t entirely clichéd, it also never quite finds its footing in terms of tone, narrative, or chemistry between the lead characters, coming off instead as both confused and confusing about where it’s going or what it’s trying to say.
  25. The director's murky, ill-conceived take on the world's oldest disaster story contains some of the most pristine visuals produced on a mass studio scale in some time. But it's also constantly tethered to a dull, melodramatic series of events out of whack with any traditional interpretation of the material.
  26. A handsome little biopic that’s sopping wet with the same clichés that its whiny hero so adamantly disavows, Mark Gill’s England Is Mine distills the early days of one Steven Patrick Morrissey into an anonymous coming-of-age story that — if not for its keen sense of place — could really be about any mopey white boy whose talents are dulled by torpor.
  27. The story suffers from a distracting aura of self-importance. Vikander brings a remarkable tenderness to her character (who, in real life, left her husband's side much earlier) but Redmayne's sharp gaze and toothy smile make it virtually impossible to ignore the actorly feat on display.
  28. Exodus: Gods and Kings illustrates a typical contradiction of commercial entertainment: By playing it safe, the movie fails to enrich the material, and never captures the energy that has made its narrative so captivating for millennia.

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