Indiewire's Scores

  • Movies
  • TV
For 1,430 reviews, this publication has graded:
  • 66% higher than the average critic
  • 3% same as the average critic
  • 31% lower than the average critic
On average, this publication grades 9.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 72
Highest review score: 100 The Last Detail
Lowest review score: 0 Warcraft
Score distribution:
1430 movie reviews
  1. There will be many people who see themselves in the furtive glances and mud-covered kisses from which God’s Own Country weaves its harsh but hopeful narrative, and they will do so while witnessing a finely crafted piece of cinema.
  2. Duplass' feisty energy is matched by DeWitt's constant smarminess, while Blunt's shy, fragile behavior balances off the forceful personalities surrounding her.
  3. With the shift from conventional rock doc into something more sophisticated, As the Palaces Burn remains enthralling all the way through.
    • 64 Metascore
    • 91 Critic Score
    Even after a superbly made two-hour-long documentary, Kuti keeps many of his secrets to himself.
    • 67 Metascore
    • 91 Critic Score
    There's a dramatic cognitive dissonance at play, and Dolan takes for granted that the audience will be willing to suspend disbelief. That's where he missteps. In choosing not to build out Tom's psychological framework, Dolan risks alienating more than a few viewers.
  4. Throughout the film, Noxon refuses to offer up easy answers and feel-good conclusions to Ellen’s journey, even when it ratchets up into a literally overheated final discovery.
  5. The contrast between the movie’s traditional execution and Stritch’s domineering powers create the lingering sense that she may be the project’s true auteur.
  6. This is a soul-stirring and fiercely uncynical film that suggests the entire world is a living museum for the people we’ve lost, and that we should all hope to leave some of ourselves behind in its infinite cabinet of wonders.
  7. Gravity lets you visit space without sugarcoating its dangers. It's a brilliant portrait of technology gone wrong that uses it just right.
  8. Wonder Woman is as much about a superhero rising as it is about a world deserving of her, and Diana’s hard-won insistence on battling for humanity (no matter how frequently they disappoint) adds the kind of gravitas and emotion that establishes it as the very best film the DCEU has made yet. There’s only one word for it: wonderful.
  9. Whereas "45365" took the form of a scattered collage, with disconnected events and a vast ensemble of characters stitched together to represent a year of activity, Tchoupitalas brings greater clarity to a similarly diffuse canvas by situating it around a trio of innocent observers.
  10. It portrays the struggle from the inside, from about as far from the filter of mainstream media as one can get, capturing tense shootouts and the extremes of revolutionary spirit in unnerving detail.
    • 85 Metascore
    • 91 Critic Score
    From Russia With Love has two of the sexiest images I’ve ever seen: the opening credits with the names projected on belly dancers’ writhing, whirling bodies, and the scene where a bare-chested, towel-clad Bond enters his bedroom and finds Tatiana Romanova in his bed. Images like that aren’t cute. They’re primordial.
  11. The story arrives at a satisfying emotional conclusion with wonderfully thoughtful ramifications.
  12. Kechiche excels at capturing his protagonist's emergence in the world.
  13. With an editing approach that seamlessly blends past and present, Central Park Five contains a fluid, engaging storytelling that does away with the dry voiceover commentary and theatrical music choices that typically account for the narrative flow of most Burns films.
  14. From one mesmerizing scene to the next, The Tribe never loses its flow. Even its harshest moments are defined by vibrant motion.
  15. Unfolding like a symphony of small humiliations, there isn’t a moment in this movie that doesn’t feel at least vaguely familiar, and there isn’t a moment in this movie that doesn’t feel completely true.
  16. This could be a recipe for excessive self-indulgence, but the meta quality of Red Flag is entirely irrelevant to its low key charm and persistent irreverence -- anchored, as always, by Karpovsky's loopy screen presence.
  17. Possibly the best war movie of the year.
  18. Cheatin' is gleefully enjoyable and loaded with unexpected twists at every turn.
  19. With a dense, often impermeable style and a mentally unstable protagonist, Simon Killer is like watching the disturbed anti-hero of "Afterschool" all grown up.
  20. Much of the movie relies on Cotillard's jittery expressions as she veers from tentatively hopeful to despondent and back again, sometimes within a matter of minutes, reflecting the ever-changing stability of job security among the lower class.
  21. Frammartino keeps the material engaging simply by aiming the camera at his subjects and letting the material organically emerge-rather than enforcing the supernatural element with overstatement.
  22. This is the rare movie that’s redeemed by its unchecked nostalgia.
  23. Nocturnal Animals is an impressively ambitious effort, one part mean Texas thriller, one part middle-age melodrama, and makes for a meta-textual riddle that is almost as pleasurable to reflect on as it to actually watch.
  24. Aferim! amounts to a serious endeavor designed to explore many facets of its era through the lens of people trapped in it. Their crude dialogue, real as it may be, hints at comedic possibilities while offering a shrewd look at people defined by their circumstances.
  25. What Now? Remind Me sketches out the tragedy of living a full life and being aware of it slipping away.
  26. Rampart is co-written by crime writer James Ellroy as a messy, disorienting noir, and shot by cinematographer Bobby Bukowski with an unsettling degree of realism.
  27. Sheil is an ideal vessel for the film's inquisitive style.

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