indieWIRE's Scores

  • Movies
  • TV
For 714 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 People, Places, Things
Lowest review score: 0 In Secret
Score distribution:
  1. Negative: 15 out of 714
714 movie reviews
  1. Mills fashions the set-up for an overwrought, thoroughly depressing character study into an oddly charming comedy. It's a midlife crisis gently portrayed with sympathy rather than grief.
  2. Weekend builds into a powerful encapsulation of an identity crisis over the course of three passionate days.
  3. Portraying a generation so energized by possibilities that it was bound to be let down, Eden offers a wise assessment of the interplay between fantasy and reality on the path to adulthood. The seductive rhythms are a perfect match for a movie that analyzes the unstoppable flow of life.
  4. '71
    '71 constantly thrills without sensationalizing its surprises. The war-is-hell ethos drives it forward, so that the movie retains its suspense in conjunction with its dour outlook.
  5. Nathan never condescends to Pug or his cohorts, instead smartly allowing their brazen maneuvers to run the show.
  6. A labyrinthine descent into the grotesque extremes of a Disneyfied society, Escape From Tomorrow is surreal for many reasons and wholly original because of them. It's also a daring attempt to literally assail Disney World from the inside out.
  7. A less controlled and slapdash character piece than "In Bruge," McDonagh's new movie benefits greatly from a plethora of one-liners that toy with crime movie clichés in the unlikely context of writerly obsessions.
  8. Hyams delivers a remarkably satisfying action-thriller hybrid that constantly pushes ahead. It's one of the best action movies of the year simply because it keeps hitting the right beats.
  9. Her
    Certainly his most deeply felt achievement, Her is both distinctly Jonze-like and something altogether different, as if the filmmaker has gone through a software update not unlike his artificial character.
  10. Herzog naturally plays up the enigma at hand with epic grandeur, occasionally overdoing it but usually hitting the mark.
  11. More meditation than movie, Terrence Malick's The Tree of Life is bound to mystify, awe and exasperate in equal measures.
  12. More traditional in terms of atmosphere and plot, Drug War nevertheless features a tense, unstoppable momentum, a morally ambiguous protagonist and hugely involving action scenes.
  13. Incredibly heartfelt to a large degree because of its cast.
  14. Striking a complex tone of tragedy and uplift at the same time, Kumiko, the Treasure Hunter both celebrates the escapist power of personal fantasies and bears witness to their dangerous extremes. It's the rare case of a story that's inspirational and devastating at once.
  15. Although not exactly heartwarming, Amour has a more contained vision of human relationships than Haneke's previous films without sacrificing its bleak foundation. It's his most conventional movie about death -- and the most poignant.
  16. While it has many familiar ingredients — from the atmosphere to the ensemble of Anderson regulars in nearly every role — in its allegiance to Anderson's vision, everything about The Grand Budapest Hotel is a welcome dose of originality.
  17. It's incredibly uneventful and devastating all at once.
  18. Gandolfini deserves an Oscar for Enough Said not because it's the culmination of everything that came before it but rather because it goes in a completely different direction. And his least characteristic achievement is also one of his best.
  19. Suleiman's most poignant moments are largely wordless. Nothing feels more affecting than Suleiman's ubiquitous frozen stare. Although he never utters a sound, his silence speaks volumes about the inability to resolve the social ramifications of Middle Eastern strife.
  20. Nobody else could fit the role of a crestfallen rocker that Paul Dano embodies in director So Yong Kim's remarkable For Ellen.
  21. A comedy of remarriage buried in intellectual abstraction and cinephilic obsessions, Certified Copy wanders a bit but never loses focus, with the only certainty being that its gimmick is genuine.
  22. Moment to moment, Birdman manages to shift gears, its roaming camera revealing new surprises as it glides along. That degree of unpredictability provides it with the ultimate response to the sea of formulaic mediocrities at the center of its critique.
  23. On the whole, by ceding control to his subject, Hawke makes a persuasive case for Bernstein's guru-like outlook on the value of finding personal gratification in art above all else.
  24. An ode to art for art's sake, Inside Llewyn Davis is the most innocent movie of the Coens' career, which in their case is a downright radical achievement.
  25. While it doesn't always earn its heft, Winter Sleep is both subdued and rich in details, its plot growing slowly over a series of extensive conversations. It's a robust, challenging experience he's been building toward with his previous features, as well as an adventurous step above them.
  26. Even as The Keeping Room plays with formulaic ingredients, it manages to combine them into an eloquent portrait of gender, race and the constant march of time without overstating any of its potent themes.
  27. Representing lower-class violence taken to an extreme, the cannibalism cannot be contained by police work. The movie's gradual build to a thrilling, appropriately bloody climax intensifies this disconnect.
  28. To Die Like a Man deserves your attention for showcasing a filmmaker with the capacity for bold narrative trickery that doesn't come at the expense of emotional investment.
  29. Directors Katie Graham and Andrew Matthews' directorial debut (from Matthews' screenplay) centers on a highly unlikable character who has alienated himself from social responsibility -- and forces you to sympathize with him against all odds.
  30. At times, Frances Ha strains from emphasizing the characters' snarkiness and disregarding plot. By routinely going nowhere, however, the movie eventually finds a distinctive voice that carries it through.

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