indieWIRE's Scores

  • Movies
  • TV
For 733 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 14.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 76
Highest review score: 100 Green Room
Lowest review score: 0 In Secret
Score distribution:
  1. Negative: 15 out of 733
733 movie reviews
  1. For all the energy of Gerwig and Kirke's shared chemistry and the lively dialogue that compliments it, the story of Mistress America never keeps pace, ultimately sagging into formula to the detriment of the potential displayed by its compelling protagonists.
  2. The extensive two-hour running time only slightly hinders a simultaneously amusing and powerful encapsulation of Brand's journey from outrageous provocateur to enlightened zealot preaching for social change.
  3. Chapiron stubbornly avoids an uplifting message, portraying his dangerous setting as a demonstration of virility that leads to madness.
    • 50 Metascore
    • 83 Critic Score
    The film seems to have been made to suggest something of Faulkner's style in a cinematic medium, and it's certainly laudable that there have been very few concessions to the marketability of a project like this.
  4. Leave it to Walken to upstage Beethoven.
    • 78 Metascore
    • 83 Critic Score
    An Open Secret is an incisive and utterly unflinching look at a subject too rarely scrutinized.
  5. At its core, The Double Hour is a classic noir story of deception.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. With its palatial setting, Borgman shows how money can buy luxury, but it can't salvage the corruption that comes from within.
  12. 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.
  13. 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.
  14. 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.
  15. 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.
  16. 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.
  17. 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.
  18. Dancing around melodrama rather than confronting it head-on, Uncertain Terms hides its revelations in the textures of each scene. It places drama in the context of everyday life.
  19. Inherent Vice constantly teases at a complex meta commentary on the other movies it brings to mind, but never totally gets there.
  20. 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.
  21. You've never seen anything like Chico & Rita, simply because that jubilant palette and likeminded jazz soundtrack embraces its predictability with such vitality.
  22. Creepy implications keep Super 8 engaging, but the cast makes it click.
  23. 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.
  24. 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.

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