indieWIRE's Scores

  • Movies
  • TV
For 716 reviews, this publication has graded:
  • 77% higher than the average critic
  • 2% same as the average critic
  • 21% lower than the average critic
On average, this publication grades 14.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 76
Highest review score: 100 The Overnighters
Lowest review score: 0 In Secret
Score distribution:
  1. Negative: 15 out of 716
716 movie reviews
  1. At its core, The Double Hour is a classic noir story of deception.
  2. Sweetly funny and relatable, Happy Christmas builds on the director's previous work by channeling its strong aspects — naturalism and self-effacing, true-to-life humor — into a relatively straightforward but utterly enjoyable character study.
  3. A surprisingly enjoyable tongue-in-cheek New York comedy from "Clueless" director Amy Heckerling, Vamps teeters on the brink of not quite working and yet still routinely lands its laughs.
  4. Transitioning back into a scripted dynamic after his quasi-documentary performance excursions with "Bruno" and "Borat," Baron Cohen loses none of his edge, combining slapstick inspiration and social commentary into a hilariously provocative blend.
  5. The closest Brügger comes to explaining his style is an early statement on the duality of his mission to go "beyond all moral boundaries known to man while still being a respectable member of society." It's a goal enacted less with a coy wink than with a violent elbow jab to the ribs.
  6. The curious thing about C.O.G is that it doesn't play like a straightforward adaptation. Much of the mood comes from ingredients that have nothing to do with story or dialogue.
  7. With its palatial setting, Borgman shows how money can buy luxury, but it can't salvage the corruption that comes from within.
  8. Black Death embraces its horror roots with ample bloodshed, at which point the silly costumes and anachronistic dialogue no longer seem so absurd.
    • 64 Metascore
    • 83 Critic Score
    Nymphomaniac is indeed a major work that tries and, to a large extent, succeeds to organically synthesize the world, ideas and filmmaking savvy of von Trier in one sprawling and ambitious cinematic fable. Somewhat shockingly given the subject matter, the most stimulating material in Nymphomaniac isn't the explicit sex but how sexuality is discussed and understood.
  9. The movie works best when probing the nature of human interactions with Nim: He appears to form a close friendship with the stoner psych major Bob Ingersoll, not only foraging for food with him but also sharing joints.
  10. In Sundance terms, Like Crazy qualifies as this year's "Blue Valentine," but it's more observational about the details of a doomed relationship than relentlessly bleak like the aforementioned Derek Cianfrance movie.
  11. Macdonald's movie is a kind of fairy tale. While in the Marvel franchises, the good guys always win, The House I Live In explores the far more tangible process of simply remaining alive at all costs -- and finding, against impossible odds, justification for living through another day.
  12. It's impossible to look away -- not only because the sense of anticipation is so vivid, but because there's no other way to follow the bizarre plot than keep with it.
    • 71 Metascore
    • 83 Critic Score
    Fed Up is a glossy package that gets its warnings across loud and clear: we need to change what we eat.
  13. Combing a memorably gritty Ryan Gosling performance with the breakneck tempo of the getaway cars his character handles for hire, Refn churns out a hyperactive love letter to road rage with unapologetic glee. It's a total blast.
    • 65 Metascore
    • 83 Critic Score
    Drawing from the wellspring of her own life, Forbes' agile tone allows the film to indulge in heartbreak and humor with equal measure.
  14. Inherent Vice constantly teases at a complex meta commentary on the other movies it brings to mind, but never totally gets there.
  15. The filmmakers have crafted seriously derivative fun that plays like "Scream" molded with "Cabin Fever" in the twisted universe of "Final Destination." It's a familiar ride, but a relentlessly wild one as well.
  16. You've never seen anything like Chico & Rita, simply because that jubilant palette and likeminded jazz soundtrack embraces its predictability with such vitality.
  17. Creepy implications keep Super 8 engaging, but the cast makes it click.
  18. Santana was cast prior to making her gender transition and had never acted before. Her personal experience brings such legitimacy that she would probably succeed in the role even if she sucked at line reading. Fortunately, she doesn't.
    • 67 Metascore
    • 83 Critic Score
    Rises above the over-tired gross-out comedy genre partly because of its meta celebrities-parodying-themselves trick, but it mostly stands out because it's genuinely funny.
  19. Progressing with a coldly observational pace, Rapt often strains its drawn-out structure, creating a lethargic experience despite essentially taking the form of a Bressonian suspense-thriller.
  20. Despite its ludicrous turns, the movie benefits from the far-fetched events for its sheer willingness to go there, not unlike Smith's goofy, self-deprecating public persona.
  21. In its revelations of Salinger's flaws, the documentary capably strips away the fanaticism associated with his books to create the impression of a human being.
    • 60 Metascore
    • 83 Critic Score
    At its best, the film doesn't strain for meaning but instead treats all of its intellectualizing as a lark that can be taken seriously but doesn't need to be.
  22. Estevez treats the drama with a straight-faced, utterly earnest approach with dual respect for the material and the audience's awareness of how it can go wrong. By playing it straight, The Way never goes off the deep end.
    • 63 Metascore
    • 83 Critic Score
    Even if the film doesn't leave much to ponder past the closing credits, it's enjoyable while it's unfolding, doing justice to the strengths of Shelton's ever-expanding filmography.
  23. Cold-blooded killers rarely look this pathetic, which testifies to the impressive balance of Skarsgård's amusingly low-key performance.
  24. Blue Jasmine belongs to Blanchett, who appears in almost every scene and frees it from the limitations of Allen's style, pushing it to far sharper results than any of the more traditional movies, good and bad, that he's churned out in the past dozen or so years.

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