indieWIRE's Scores

  • Movies
  • TV
For 804 reviews, this publication has graded:
  • 76% higher than the average critic
  • 2% same as the average critic
  • 22% lower than the average critic
On average, this publication grades 14.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 76
Highest review score: 100 Sleepless Night
Lowest review score: 0 In Secret
Score distribution:
  1. Negative: 20 out of 804
804 movie reviews
  1. Although Madsen's survey of warning strategies has an aimless structure prone to repetition, he creates an effective mood that transcends his time-travel gimmick and eventually becomes topical.
  2. It's an unflinching update to media scholar Neil Postman's prophetic claim about the deadly impact of television on cultural identity: Smartphones in hand, we face the danger of filming ourselves to death.
  3. I had to see the new version twice to realize that there's so much to appreciate about this multilayered production.
  4. Mackenzie (whose previous credits include "Perfect Sense" and "Young Adam") applies a sharp kitchen sink realism to this haunting setting and directs it toward an ultimately moving family drama that just happens to involve vicious convicts.
  5. It may go without saying that Poetry adopts a lyrical tone, but this forms the crux of its appeal. In this case, the title says it all.
  6. Think "Death of a Salesman" with demons.
  7. Sister may not arrive at a happy ending, but the lack of resolution -- capped off by the powerful last image --completes its journey to a place of rousing emotional clarity.
  8. The movie makes a strong case against the captivity of killer whales under sub-circus conditions, but the stance is made even more horrifying because so little has changed in the history of the organization. Blackfish is less balanced investigation than full-on takedown of a broken system.
  9. A rich, almost impermeably strange example of Costa's slow-burn approach to abstract storytelling, Horse Money is more subdued and cryptic than its predecessors, to the point where it might be more appropriately described as a cinematic tone poem.
  10. While not aspiring to the heights of the texts underscoring his work, Piñero displays a daring formalism that transcends its many inspirations to find its own unique rhythms.
  11. By favoring mood over plot, "Myth" explores what it feels like to transition into youth adulthood and face harsher truths.
  12. With Smith's memories as the subject, Fetzer constructs a compelling cinematic experiment that turns the actor's monologue into a feature-length movie, and the result holds as much appeal as the solitary member of the cast.
  13. Upstream Color is routinely confusing but not oppressively so; its final exquisite moments explain little yet still manage to invite you in.
  14. American action movies are almost entirely defined by cutaways, blaring music cues and grunts. The Raid: Redemption, a hyper-energetic Indonesian martial arts movie, delivers an effective rebuke to that meek norm. Bones break, blood flows and swift, excessively complicated fight choreography puts virtually everything released in North America since "The Bourne Ultimatum" to instant shame.
  15. Steve James's The Interrupters runs long, but earns its heft.
  16. With its bouncy soundtrack, deadpan humor and good-natured disposition, Finnish director Aki Kaurismaki's Le Havre is an endearing affair.
  17. Never indulging in outright scare tactics or loose improvisation, the movie primarily works like an awkward narrative that plays with perspective.
    • 87 Metascore
    • 91 Critic Score
    As told through Heller’s acutely sensitive vision, the result is less off-putting and more of an authentic insight into a perspective grossly underrepresented in American cinema.
  18. Jacobs, working from a script by Patrick de Witt, takes a conventional coming-of-age story and does it proud, enlivening the plot with an almost experimental portrait of alienation and despair.
  19. The conflict in The Attack is less about the reasoning behind immoral behavior than the problems involved in any cursory understanding of it.
  20. Baker once again manages to match underrepresented faces in American cinema with material that lets their personalities shine.
  21. In "Adventureland" and this summer's "The Way Way Back," disillusioned teens have worked through their issues in the weeks leading up to college by taking on quirky summer jobs. However, Carey's wacky sensibilities retain a notably fresh quality by using the same framing device as an excuse to bat around one funny idea after another. The story transcends the derivative scenario through a noticeable lack of verbal censorship.
  22. Imagine "Harold and Maude" directed by Eric Rohmer with shades of film noir and doused in philosophical chatter enhanced by ample white wine. But Domain isn't pure formula, because the subversion of expectations is its centerpiece.
  23. In Oculus, the horror is at once deceptively simple and rooted in a deep, primal uneasiness. Its scariest aspects are universally familiar.
  24. Tales from the Grim Sleeper concludes by offering up the haunting possibility that even if the killer has been caught, the systemic failures that let him get away with it for so long remain firmly in place.
  25. The reality-show aesthetic pervades the movie as well. Garrone's roaming camera style draws you into each moment with extreme close-ups and long takes that wander through each scene and get lost in it. Luciano's plight is crushing because Garrone renders it with such detail.
    • 71 Metascore
    • 91 Critic Score
    Although Berlinger’s latest work is a dense, unsparing look at the offenses and trial of Whitey Bulger, it's equally concerned with capturing how the many members of Bulger's expansive web -- criminals and innocent citizens alike -- use their experiences to control their version of the man.
  26. Greene's patient, understated portrait renders a universal rite of passage in strangely alluring, poetic terms.
  27. In Another Country is a paragon of any given Hong movie's intrinsic charms, and yet it also manages to break from the pattern by including an English-speaking character as one of its leads.
  28. Ever as it casts their future prospects in doubt, Virunga concludes by envying the apes’ perspective most of all.

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