Indiewire's Scores

  • Movies
  • TV
For 1,627 reviews, this publication has graded:
  • 65% higher than the average critic
  • 3% same as the average critic
  • 32% lower than the average critic
On average, this publication grades 8.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 72
Highest review score: 100 Foxtrot
Lowest review score: 0 A Dog's Purpose
Score distribution:
1627 movie reviews
  1. A film that often avoids any middle ground, making for a cut-and-dried courtroom tale that desperately wants to be anything but.
  2. Go For Sisters, like the filmmaker's previous features "Amigo" and "Honeydripper," sustains a feeble premise with richly defined characters and strong performances, yielding an underwhelming but nonetheless sustainable viewing experience.
  3. Call it a Shakespearean catharsis or just call it a lark -- either way, the movie represents Whedon's least essential work, regardless of the material's inherent comedic inspiration.
  4. Anderson does add some style to the film, doing wonders with an indie-sized budget for a film that requires a specific period setting.
  5. American Animals is fiercely entertaining from start to finish, even when its characters are acting so dumb that you start to suspect they still have some more evolving to do.
    • 42 Metascore
    • 58 Critic Score
    If anything, The Adderall Diaries is worth seeing for the ways it challenges the audience to examine and take responsibility for their own personal narratives.
  6. Moore’s premeditated attempts to wring some laughs out of this category 5 shitstorm are so half-assed that you wish he hadn’t bothered.... It’s as though he realized that the film could have been just as successful as a podcast, and compensated for that fact by shoehorning in some needless visual razzmatazz.
  7. W.E. is less outright bad than underwhelming; if the director were unknown, it would hardly deserve notice. Like her first film, the 2008 "Filth and Wisdom," it suffers from countless storytelling flaws.
  8. Part of the problem with Merchants of Doubt is also part of its own argument: You can't reason someone out of a position they didn't reason themselves into, and a dispiriting number of people are less interested in facts than they are in confirming their own biases.
  9. Although Farr layers on the creepy until the last frame of The Ones Below, the film's ultimate reveal is hardly shocking, and that the film spends a gratuitous amount time unspooling it long after it's clear what has gone down feels indulgent and unearned.
  10. Swicord, perhaps a touch too reverent of Doctorow’s writing, can’t quite solve the limited emotional range of her protagonist.
  11. Boom’s film (penned by Jeremy Haft, Eddie Gonzalez, and Steven Bagatourian) initially reads as a timely rallying cry around Shakur’s legacy, before devolving into a paint-by-the-numbers biopic that unspools with as much energy as a Wikipedia entry.
  12. Though ultimately unsuccessful, it valiant reaches for a funky, wild critique of hedonistic sluggards wandering through society with no clear direction. But more than anything else, it delivers Keanu in his element.
  13. By no means a great piece of filmmaking, Blood Father nevertheless recaptures some of the rough attitude of Gibson's "Mad Max" days, as he shoots, growls and head-butts through a routine tale of angry drug lords.
    • 48 Metascore
    • 58 Critic Score
    Barker-Froyland's intention was clearly to make Song One all about music and how it can bring people together. But the result is all about Anne.
    • 59 Metascore
    • 58 Critic Score
    Trevorrow, like so many directors given the responsibility of delivering a straightforward blockbuster designed to satisfy bottom-line expectations, struggles to find the balance between silly and serious.
  14. Mary and the Witch’s Flower may not be a great film — it occasionally struggles just to be a good one — but it’s a convincing proof-of-concept, and that might be more important in the long run.
  15. The movie is constantly at war with attempts to provide an honest portrayal, almost as if its subject were reaching beyond the grave to steer any negativity back in the direction of a hagiography.
  16. No amount of strong performances and good vibes can hide the sense that we’re just watching a paint-by-numbers routine. Nair puts so much effort into galvanizing the movie’s central figures that the slightest hints of conflict register as little more than an inconvenience.
  17. Almereyda’s feature is rich in acting talent, but this stagey, flat drama can’t match the wattage of its leads.
  18. There’s just enough history about lucha libre to make you curious to learn more.
  19. Melissa McCarthy is hilarious in every scene of The Boss, but the movie rarely keeps up with her.
  20. While its bleak assessment of American intelligence operatives imbues the story with some modicum of topicality, the specifics never keep pace. The movie becomes a bland action-drama lacking the sophistication to deal with its weightier themes. As a promising endeavor hacked to pieces, the movie's fate mirrors its anti-hero's own failed ambition.
  21. Having laid out the scenario, Brandt drags it through the motions of a tired procedural.
    • 75 Metascore
    • 58 Critic Score
    While The Trip to Italy offers all the pleasures of a posh holiday accompanied by two of the most inventive comedians today, the improvisation here lacks the total unexpectedness that the first enjoyed.
    • 56 Metascore
    • 58 Critic Score
    Akin ultimately fails to make the material work, especially in the second half of the film, when it develops into a disappointing adventure story.
  22. This is a movie of remarkable scale; on the level of sheer craftsmanship, it offers some appeal. If only Gowarikar had put the same level of effort into the story.
  23. Even as it celebrates the spirit of committed journalism that rises above the powerful forces designed to contain it, Kill the Messenger displays the same anesthetized quality that Webb's dedication to his job was meant to counteract. Renner is a different story.
  24. Allied can never settle on a consistent tone, bumping along from smooth spy adventure to stylized war picture to treatise on marriage, all peppered with stilted attempts at humor for an added dash of incomprehensibility.
  25. The story ultimately frays apart by tugging at its flimsiest threads, but Onah hits on too many things with too much force for his debut to be dismissed as a result.

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