indieWIRE's Scores

  • Movies
For 626 reviews, this publication has graded:
  • 78% higher than the average critic
  • 2% same as the average critic
  • 20% 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 Stories We Tell
Lowest review score: 0 In Secret
Score distribution:
  1. Negative: 12 out of 626
626 movie reviews
  1. Creepy implications keep Super 8 engaging, but the cast makes it click.
  2. Buck Brannaman, the subject of Cindy Meehl's engaging documentary profile Buck, has a warm presence and knows how to tame horses better than anyone else.
  3. 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.
  4. Showing the uneasiness of a first-time documentarian, Rapaport has a difficult time exploring the drama. That has extended beyond the movie itself and into a long-running media dispute with Q-Tip, who has refused to plug the movie.
  5. 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.
  6. The result is not a major work, but still a wildly funny portrait that succeeds at inducing the incredulity Morris always seeks out.
  7. As the portrait of a relationship meltdown involving two eccentric creative types prone to self-doubt, July's sophomore feature bears a strong resemblance to husband Mike Mills's upcoming "Beginners," although July's version of the story has a more experimental edge.
  8. 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.
  9. Despite its meandering plot, Bellflower presents its doom-laden vision as an astonishingly distinctive state of mind, arguing that the end of one self-made world always marks the start of a new one.
  10. For everything that Mozart's Sister imagines, it leaves much more up to imagination.
  11. The first half of I'm Glad My Mother's Alive effectively inhabits a child's mind in a manner that recalls Maurice Pialat's marvelous 1968 debut "The Naked Childhood."
  12. Director Bennett Miller has produced a warm and generally agreeable character study about the pratfalls of athletic institutions and the willingness to think outside the box.
  13. The title suggests a dramatic Shakespearean twist, but Clooney's aims are much simpler. As he builds to a western showdown divorced from political specificity, the Manchurian-like manipulation turns Ides of March into an allegorical monster movie in which everyone's competing for the role of the monster and most people can't see it.
  14. Artistically, however, the movie delivers on a surprisingly effective scale, no matter how Lonergan sees it. Alternately perceptive, subversive, tragic and profound.
  15. 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.
  16. Despite its predictably cheery vibe, Being Elmo implies a certain darkness lingering beneath the surface of Clash's life.
  17. Catechism sometimes feels intentionally obscure, much like Rohal's last movie. It's essentially a hilariously brazen lark, which is reason enough to embrace it.
  18. 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.
  19. While the contradiction of punk rock parenthood may not have a solution, The Other F Word successfully has fun with the mystery.
  20. The Artist plays around with the distinction between silent and sound cinema, resulting in the superficial entertainment value of a high concept film school joke. But it's a charming and supremely gorgeous joke -- sometimes too clever for its own good, other times not clever enough, and always at least an attractive diversion.
  21. With its subject still behind bars and the Russian government on the brink of reelecting Kremlin's United Russia party, the biggest triumph of Khodorkovsky is the case it makes for a sequel.
  22. The most impressive thing about In the Land of Blood and Honey is that Jolie makes you feel it.
  23. Pina is a beautiful, heartfelt ode and a delicious feast for the eyes, but not an essential work of art on its own terms.
  24. The Divide manages to transcend its numerous flaws while indulging them: No matter where it falters, the underlying purpose stays put.
  25. Pummeling forward from its first diner-set fight scene to a sweeping final showdown on the beach, Haywire is a literal blast.
  26. West, who demonstrated a penchant for extensive build-ups in "The House of the Devil" and "Trigger Man," continually makes it unclear if the inn actually harbors a ghost or if his heroine (Sara Paxton) has simply imagines it. Both she and her hilariously frazzled co-worker (Pat Healy of "Great World of Sound") want to believe in supernatural affairs for the thrill factor alone.
  27. You've never seen anything like Chico & Rita, simply because that jubilant palette and likeminded jazz soundtrack embraces its predictability with such vitality.
  28. The Forgiveness of Blood examines the barriers of ritual and the passage from youth to adulthood in Albanian society with the perceptive detail of a grand literary feat. At the same time, it retains the simplicity of a parable.
  29. Post Mortem portrays the specter of dictatorship through the lens of one man's private hell.
  30. Maintains a funny and sad focus on its single petulant subject.

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