Indiewire's Scores

  • Movies
  • TV
For 1,490 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 Foxtrot
Lowest review score: 0 Ratchet & Clank
Score distribution:
1490 movie reviews
  1. Rather than making his own movie, Gosling has composed a messy love letter to countless others.
  2. Unfortunately, Lawless lacks the same darkly energizing spirit that made "The Proposition" such a revelation: It has plenty of gunplay, scowling showdowns and dust-caked setpieces, but little in the way of dynamic filmmaking to imbue those elements with life.
    • 42 Metascore
    • 42 Critic Score
    If the first film was ploddingly, airlessly faithful to its source, this follows the second in being frantically paced, chaotic and increasingly exasperating.
  3. Frank & Lola is scattershot from the start, and never makes a compelling case for why its story is being told.
  4. Passengers refuses to really wrestle with the compelling questions at its core, instead opting to lean on Lawrence and Pratt’s collective charm to keep things ticking amiably along.
  5. Eventually so generic that it might as well be about anyone, Film Stars Don’t Die in Liverpool creates a foul tension between the paint-by-numbers quality of its approach and the uniqueness of its affair.
  6. The only reason to take such a uniquely Japanese story and transplant it to Seattle is to explore how its thorny moral questions might inspire different answers in an American context, so for this retread to all but reduce America to its whiteness indicates an absence of context more than anything else. It’s the most glaring symptom of a film that utterly fails to investigate its premise.
  7. Emmerich takes the story at face value and delivers a film unlike any of his others. That is to say, a boring one.
  8. Dreams of a Life unintentionally amounts to a mean-spirited snooze.
  9. What value there is to be found is in its cast. Hoult and Costa are charismatic, committed, and totally capable of making it feel as though their characters really can’t see what’s coming.
  10. F8 is the worst of these films since “2 Fast 2 Furious,” and it may be even worse than that. It’s the “Die Another Day” of its franchise — an empty, generic shell of its former self that disrespects its own proud heritage at every turn.
  11. This is the undead equivalent of fast food. Some might find comfort in all these known quantities. Those looking for anything of substance would do better to wait for an upgrade.
  12. Lockout consists of disciplined action pastiche, but much of its thundering engine borrows from better movies.
  13. As a director, Harrelson seems to be grasping at elements of far better movies. The live component, while impressively executed, rarely alters the movie in any meaningful way.
  14. Red Christmas rarely deals in gore for gore’s sake in its early going. By the end, however, it becomes such an exercise in sensibility-testing brutality that any message about the fragility of the family unit is as murky as the cinematography.
    • 40 Metascore
    • 42 Critic Score
    It’s hard to get the same feeling of awe and epic scale that the series’ best installments can offer when you’re essentially watching ten guys squabble in a forest.
  15. Fine performances by Kate Winslet, Liam Hemsworth and Judy Davis help matters a bit, but the final product is so oddly cobbled together that the entire thing should be left hanging on the rack.
    • 60 Metascore
    • 42 Critic Score
    The movie is not without some small pleasures...but neither character is developed beyond broad characteristics, in spite of them occupying 95% of the film's taxing two-hour running time.
  16. Directed by Sam Taylor-Johnson from Kelly Marcel's screenplay, the considerable talent behind the camera and a modicum of considerable performances yield a few undeniable guilty pleasures, but most viewers will be seeking a safe word to escape this two-hour-plus mess of half-baked excess.
  17. While “Jason Bourne meets Temple Grandin” might sound like an interesting idea for a studio write-off, “James Bond meets Michael Clayton meets Rain Man meets all of their friends and enemies” is a dull movie that’s too full of distractions to pay out any dividends.
  18. By trying to provide a little something for everyone, it ultimately offers precious little to anyone.
  19. Rather than focusing on a cataclysmic showdown between pop culture's most famous men in tights, Zack Snyder's flashy, cacophonous follow-up to 2013's "Man of Steel" is basically one long teaser for the next installment.
  20. It’s a fittingly ambiguous title for a directionless film, late night fare that will be enjoyed by just as many horny men as horny teenage lesbians.
  21. Luhrmann's The Great Gatsby has the hallmarks of a contemporary Hollywood spectacle. It's missing the explosions, but make no mistake: Gatsby is one glitzy misfire.
    • 45 Metascore
    • 42 Critic Score
    Focusing on cultural references and social cues, About Alex fails to give us a big picture compelling enough to overlook its flaws.
  22. Spencer and Alush turn in the film’s best performances, and Spencer’s natural warmth and Alush’s deep charm keep The Shack hammering right along.
  23. Flatly directed by Stephen Herek from a screenplay by S.J. Roth, the movie seems to be at peace with its mediocrity. As a vehicle for WWE champ Paul "Triple H" Levesque, it's haplessly stuck on cruise control.
  24. Trolls is a spectacularly empty fantasia of bad songs, bright lights, and militant happiness. But there’s no denying how well the film bludgeons you into submission when it gets into its groove.
  25. The in-between moments when Mine is simply a guy stuck in the desert, trying to use his own wits to save himself, is when the film is at its very best, but that’s precisely what makes Mine such a disappointment: those moments are the in-between ones, not the bulk of the film.
    • 49 Metascore
    • 42 Critic Score
    The Sacrament is a missed opportunity to further expand West's pallet. Instead of twisting conventions and playing with expectations, West plays into expectations.

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