Indiewire's Scores

  • Movies
  • TV
For 1,558 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 8.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 72
Highest review score: 100 7 Boxes
Lowest review score: 0 Ratchet & Clank
Score distribution:
1558 movie reviews
  1. 47 Meters Down sinks rather than swims, even if there are a few buoyant moments along the way.
  2. 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.
  3. It’s intermittently funny, mopey, and tense, sometimes totally off-base but certainly ambitious in its approach.
  4. Mark Cullen’s ruthlessly boring and decidedly dismal Once Upon a Time in Venice marks a new low in Willis’ still-trucking action career, one that even Cage would likely flinch at, even if it does feature an entire sequence dedicated to naked skateboarding.
  5. We’ve yet to see if Kate McKinnon can lead a movie, but she sure as hell can steal one. She did it in “Ghostbusters,” and she did it again in Rough Night, which is surprisingly funny despite a wild premise riddled with potential pitfalls.
  6. The film is visually breathtaking, and anchored by two strong performances. But the loyalties in My Cousin Rachel seesaw too dramatically for tension to build satisfyingly; the film runs hot and cold when it really wants to simmer.
  7. This material could make for a powerful work, but Viceroy’s House is certainly not it.
  8. Considering that it’s a second sequel in a less-than-revered franchise, it’s a minor miracle that Cars 3 hits the finish line with a fresh sense of purpose.
  9. As an act of preservation, Frozen Time is a marvel, a miracle, a complete good. As an act of storytelling, it’s still a bit too cold for the nitrate to catch fire.
  10. It’s not that it’s bad, it’s that it never could have been good. It’s an irredeemable disaster from start to finish, an adventure that entertains only via glimpses of the adventure it should have been.
  11. Though born of an inventive idea, Camera Obscura comes out underdeveloped.
  12. A true story so pure that it almost grants its teller the permission to be sloppy, Gabriela Cowperthwaite’s Megan Leavey is a bit of a mess from the moment it starts, but it’s hard to completely dismiss any movie with a soul this strong, just as it would be hard to dismiss a disobedient puppy so long as its tail keeps wagging.
  13. From a certain perspective, Sami Blood tells a very familiar story, but the hyper-specificity of its telling renders it a wholly new and quietly profound experience.
  14. 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.
  15. A documentary as sprawling and brilliant and flawed as the country it traverses, Eugene Jarecki’s The Promised Land is a fascinatingly overstuffed portrait of America in decline.
  16. While all of the people they meet are delightful characters who the film manages to milk for every ounce of their personality, Varda and JR inevitably emerge as the real stars here.
  17. Sorely lacking the energy that made “Mediterranea” such a vital shot in the arm, A Ciambra is a half-step backward for Carpignano, whose clear sense of place is too often hampered by shapeless plot.
  18. There’s a fine line between watching someone toil and feeling as though you’re toiling yourself, of course, and “Makala” doesn’t always land on the right side of it. It can be edifying at times to watch this, as the film is clearly a labor of love — even if the actual work depicted is not.
  19. Mitchell transforms Neil Gaiman’s sci-fi short story into a vibrant, edgy and at times outright goofy statement on tough antiestablishment rebels and freewheeling hippy vibes, suggesting that they’re not really all that that different.
    • 43 Metascore
    • 58 Critic Score
    A stylish but ultimately stiff collection of old tropes about writers and their audience, fiction vs. reality, and the Other that becomes you.
  20. At its best, the movie is a freewheeling gambit, hurtling in multiple directions at once, and it’s thrilling to watch Desplechin try juggle them all.
  21. It’s an enticing challenge for the writer-director to develop a stylish mood piece out this flimsy material, adapted from a Jonathan Ames novella as a series of textured moments. The movie is an elegant homage to a mold of scrappy detective stories that often collapses into a concise pileup of stylish possibilities.
  22. Light and inoffensive, it trades the intellectual rigor of Godard’s work for fluffy sentiments, but never gets crass. Above all else, it succeeds at transforming cinephile trivia into a genuine crowdpleaser.
  23. Jupiter’s Moon is no simple story of escape, in part because Mundruczó’s script (co-written with Kata Wéber) has no real idea where it’s going.
  24. Rather than smothering the material in bad vibes, the filmmaker uses them to gradually reveal a fascinating world in which anger and resentment becomes the only weapon any of these people know how to wield.
  25. While not the same league as “Leviathan,” Zyvagintsev’s latest slow-burn look at anguished people tortured by problems beyond their control displays his mastery of the form.
  26. As slinky as the reflection of a neon sign trailing across the hood of a black sedan, this is a slight movie, shot on a whim just a few months before its world premiere, and it feels cobbled together in its search for some kind of meaning.
  27. A fitfully amusing erotic thriller in which nothing is what it seems, anything could happen, and everything is at least a little ridiculous.
  28. Assembling the story out of small moments and gripping exchanges, Campillo grounds this earnest drama in a sense of purpose.
  29. The always-understated director never mines the domestic situation for excessive melodrama, instead opting to step back and wryly examine the three leads’ contradictory impulses.

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