Indiewire's Scores

  • Movies
  • TV
For 1,262 reviews, this publication has graded:
  • 67% higher than the average critic
  • 3% same as the average critic
  • 30% lower than the average critic
On average, this publication grades 10.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 72
Highest review score: 100 Wild Tales
Lowest review score: 0 Pixels
Score distribution:
1262 movie reviews
  1. Ignore the precise religious context and it stands perfectly well as a restrained look at personal convictions in the face of certain death.
  2. Kazan has fun with a silly premise and smartly plays it straight when the occasion calls for it, while keeping the cutesy, fantastical extremes of the material at bay. It's less fairy tale than shrewd exaggeration on the pratfalls of desire.
  3. Creed does justice to its roots while trying something new.
  4. Computer Chess excels at conveying the frustrations of feeling trapped by forces beyond one's control, the complexities of humanity irresolvable by any neat code.
  5. Dickinson's hauntingly naturalistic look at disgruntled young adults trapped in the country following an urban disaster plays like "Martha Marcy May Marlene" transported to a post-apocalyptic survival narrative -- with lots of yoga and sex.
    • 76 Metascore
    • 91 Critic Score
    Like its central character, Listen Up Philip exudes a kind of highbrow affectation that charms more than it alienates.
  6. In each tense moment, Miss Bala has a lot to say in a few words.
  7. Poitras, an expert filmmaker as keyed into pace and mood as the topic they support, delivers a mesmerizing look at both how Snowden managed to release his information as well as why it all matters.
  8. Love Is Strange is a sophisticated take on contemporary urbanity infused with romantic ideals and the tragedy of their dissolution.
  9. While not designed to entertain on the level of style and spectacle that one expects from a Bond film, this tense period drama from the director of "Man on Wire" presents a far more credible take on the daring exploits of British agents.
  10. Anchored by a sensational Charlotte Rampling as its lead, the movie combines Haigh's perceptive style with shades of Mike Leigh's "Another Year" to create a quietly moving and deceptively tragic look at aging romance haunted by past mysteries.
  11. Like "Afterschool," Durkin's first feature explores the dangerous extremes of youth vulnerability.
  12. The poetic rhythm with which Hartley brings three movies of events to an end is a tight, gripping expression of closure.
  13. Playing make believe with murderers, Oppenheimer risks the possibility of empowering them. However, by humanizing psychopathic behavior, The Act of Killing is unparalleled in its unsettling perspective on the dementias associated with dictatorial extremes.
  14. Swanberg once again shows a capacity for capturing small moments that exist outside the direction of the plot. At the same time, the effective fragments of "Drinking Buddies" take his oeuvre in a new direction by accumulating into a reworking big picture.
  15. There's no doubting that Holy Motors is an ungodly mess of images and moments, some more alluring than others, but it sure leaves a mark.
  16. Anchored by Natalie Portman’s achy-eyed performance, Jackie is, despite a few wrinkles at the end, about the best version of this story you can get.
  17. Director Lenny Abrahamson seamlessly translates Donoghue's work into cinematic terms with his relentlessly compelling adaptation. However, the drama owes just as much to its two stars, Brie Larson and newcomer Jacob Tremblay, whose textured performances turn outrageous circumstances into a tense and surprisingly credible survival tale.
  18. Stillness dominates, from the first shots of cornfields at sunrise to the final one that finds Helmer lying among them. When "It's All So Quiet" comes full circle, the title is virtually an understatement.
  19. In the struggle to tell a story, Panahi reveals the redemptive power of art. No longer issuing desperate pleas, he has turned to cinema for the sake of survival.
  20. Landline is a textured, silly, sweet, and deeply felt comedy that traces the distance between the most satisfied parts of ourselves and the most desperate, between the people we are and the people we think we should be, and it finds that — for better or worse — we’re all stuck somewhere in between.
  21. This is an idea familiar to anyone who has waded through Bigelow's universe of conspiratorial agendas in which no good deed goes unpunished, and might not be a good deed at all. Cartel Land plants that dilemma in our backyard, and ends with the tangible perception that it won't go away anytime soon.
  22. That the movie succeeds both as a high-stakes crime thriller as well as a far quieter and empathetic study of angry, solitary men proves that Cianfrance has a penchant for bold storytelling and an eye for performances to carry it through.
  23. One of the greatest comedy sequels ever made.
  24. Though at times almost too peculiar for its own good, The Lobster brings Lanthimos' distinct blend of morbid, deadpan humor and surrealism to a broader canvas without compromising his ability to deliver another thematically rich provocation.
  25. Exhibition infuses its cerebral exposition with a strong dose of humanity.
    • 73 Metascore
    • 91 Critic Score
    The Club is a bold and bracing allegory of a church tainted by scandals.
  26. If you can groove with Jarmusch's patient, philosophical indulgences and the wooden exteriors of his characters' lives, the movie rewards with a savvy emotional payoff about moving forward even when the motivation to do so has gone.
    • 61 Metascore
    • 91 Critic Score
    Whishaw's sensitive performance gives Lilting its emotional intensity.
  27. Despite the cerebral formalism that pushes it forward, Mond has made a genuine tearjerker.

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