Indiewire's Scores

  • Movies
  • TV
For 1,332 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 9.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 73
Highest review score: 100 Before Midnight
Lowest review score: 0 A Dog's Purpose
Score distribution:
1332 movie reviews
  1. 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.
  2. By favoring mood over plot, "Myth" explores what it feels like to transition into youth adulthood and face harsher truths.
  3. 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.
  4. Upstream Color is routinely confusing but not oppressively so; its final exquisite moments explain little yet still manage to invite you in.
  5. 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.
  6. Winsome, sweet, and often very funny, The Other Side of Hope is more of the same from Kaurismäki, and thank God for that.
  7. It's the closest thing to a magnum opus in Arnold's blossoming career.
  8. Steve James's The Interrupters runs long, but earns its heft.
  9. With its bouncy soundtrack, deadpan humor and good-natured disposition, Finnish director Aki Kaurismaki's Le Havre is an endearing affair.
  10. Never indulging in outright scare tactics or loose improvisation, the movie primarily works like an awkward narrative that plays with perspective.
  11. 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.
  12. 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.
  13. The conflict in The Attack is less about the reasoning behind immoral behavior than the problems involved in any cursory understanding of it.
  14. Baker once again manages to match underrepresented faces in American cinema with material that lets their personalities shine.
  15. Once again, Shults has delivered a top-notch psychological thriller, but It Comes at Night builds an unnerving atmosphere around unspecified sci-fi circumstances.
  16. 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.
  17. 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.
  18. In Oculus, the horror is at once deceptively simple and rooted in a deep, primal uneasiness. Its scariest aspects are universally familiar.
  19. With its intimate focus, Menashe avoids indicting the strict logic that stifles its anti-hero’s individuality (though secular viewers can reach their own conclusions). Instead, it succeeds at showing how his challenges are more universal than judgmental viewers might think.
  20. It’s at once a celebration of individuality and its potential to unnerve those who resist it.
  21. 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.
  22. 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.
  23. 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.
  24. More than just a hypnotically hyper-real distillation of what it means to be young, All These Sleepless Nights is a haunted vision of what it means to have been young.
  25. Greene's patient, understated portrait renders a universal rite of passage in strangely alluring, poetic terms.
  26. 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.
  27. Ever as it casts their future prospects in doubt, Virunga concludes by envying the apes’ perspective most of all.
  28. The movie is an impressively realized work of minimalist storytelling that foregrounds Redford's physicality more than any other role in his celebrated career. His performance defines the movie to an almost shockingly experimental degree.
  29. The Witch becomes a focused portrait of fixed rituals crumbling in the face of inexplicable forces, evoking the fear of change lurking in the shadows at every moment. Despite the setting, its scares are uniquely contemporary.
  30. Smart in spite of its irreverence, "Future Folk" is the weirdest, most enjoyable fusion of genres you'll see this year.

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