IndieWire's Scores

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For 1,786 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 8.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 72
Highest review score: 100 Leviathan
Lowest review score: 0 Hillary's America: The Secret History of the Democratic Party
Score distribution:
1786 movie reviews
  1. Watching Turner learn to accept his weakness is ultimately satisfying, even if this gentle documentary loses a lot of texture with every shuffle.
  2. Geostorm is terrible entertainment, but it’s a remarkably effective window into Donald Trump’s soul.
  3. Its atmospheric sophistication holds strong throughout, channeling a wonder for the natural world reminiscent of Terrence Malick with an air of existential dread straight out of Andrei Tarkovsky.
  4. Madness is difficult to convey on screen, and less is often more. McLean opts for most, sacrificing Radcliffe performance — so alert and responsive that you can feel the life draining out of his body once the Amazon takes hold — at the altar of some empty affectations.
  5. Thor: Ragnarok doesn’t break fresh ground by Marvel standards, but it livens up the proceedings just enough to grease up the wheels of this franchise behemoth as it careens along.
  6. Rather than spend more time with the band, Traavik tries to milk additional drama from North Korea’s diplomatic tensions.
  7. Unfolding like a microbudget cross between “Salò, or the 120 Days of Sodom” and “The Squid and the Whale,” Peter Vack’s impressively disgusting Assholes is the kind of movie that you wish you could unsee, one you have to watch in your peripheral vision because straight-on viewing would be way too nauseating.
  8. Ruspoli’s presence in the film elevates Monogamish beyond the predictable talking heads documentary.
  9. Winslet delivers her most powerful, emotionally resonant performance in more than a decade.
  10. The plight of the alienated monkey is at turns absurd and genuinely bittersweet, not to mention a whole lot better than its premise might suggest.
  11. The problem with this hokey courtroom drama isn’t that it says the right thing in the wrong way, the problem is that it ultimately doesn’t say anything at all.
  12. A rich, rewarding documentary that digs deep into major questions without being afraid of the answers.
  13. The two plot strands are ostensibly linked by an act of indiscriminate violence, but they’re so clumsily threaded together that it just calls attention to the stitch-work.
  14. Alfredson’s direction proves yawnsomely methodical, ticking off surviving plot points as though filling in some I-Spy Book of Scandinavian Crime Cliches.
  15. The movie is so cautious about avoiding disaster movie tropes that you can practically sense the resistance to arriving at the tragic finale. The result is a tasteful, well-acted bore, but so out of sync with traditional studio filmmaking it deserves some kudos anyway.
  16. When Landon moves away from the darker parts of the film, opting to play up the campier elements of a mostly silly story, Happy Death Day is the kind of dizzy fun as slasher horror can possibly be. Too bad then that all that goodwill has to reset every night, pushing everything back to square one just as it was getting good, murderously so.
  17. So deeply rooted in metaphor and allegory that it might as well be called “father!,” Alex and Andrew Smith’s Walking Out is a strong coming-of-age adventure that buries its vaguely biblical underpinnings beneath the heavy snows of a Jack London epic.
  18. If only its irony were the most painful thing about Flatliners, an artless and agonizingly boring remake of a semi-forgotten movie about the dangers of bringing things back from the dead.
  19. Director Denis Villeneuve goes beyond the call of duty, with a lush, often mind-blowing refurbishing of the original sci-fi aesthetic that delves into its complex epistemological themes just as much as it resurrects an enduring spectacle.
  20. Above all, Last Flag Flying illustrates a fascinating link between Ashby and Linklater, two filmmakers from different eras who both explore American society’s capacity to alienate the same people contributing to its identity. That gloomy proposition finds a fresh tone in Linklater’s hands, where angry, disillusioned people still manage to find room to laugh.
  21. It’s fantastically unrealistic stuff from the first minute to the last (and there are far too many minutes between them), but Idris Elba and Kate Winslet generate enough heat to keep the frostbite at bay, and Mandy Walker’s stunning location cinematography ensures that the film looks considerably more authentic than it feels.
  22. Till spins a sloppy but uproariously clever urban fable, one that doesn’t sanctify or belittle the handicapped, but rather shines new light on that invisible population by inviting them to play the most visible of movie archetypes: assassins.
  23. Few films this year offer up such lush and beautiful formal components as Jane (Glass’ score is, to be noted, also very lovely), but Morgen has also made a film of deep emotional beauty, the kind of satisfying, stick-with-you fare that any filmmaker would love to make.
  24. Director Chris Perkel, who also edited, hasn’t made a movie so much as a prolonged tribute reel with ample material to fuel a dozen lifetime achievement award ceremonies.
  25. The ending may be strained, but it works its way to just the right sentiment.
  26. Gugino and Greenwood deliver first-rate performances enriched by their characters’ ambiguous qualities.
  27. While nothing groundbreaking, the story mines a degree of profundity out of the traditional supernatural thriller tropes at its core.
  28. We’re left with something handsome but safe, a film that tries to bridge the gap between children’s characters and adult concerns without ever anchoring itself to either side.
  29. Unrest works particularly well once Brea looks beyond the limitations of her own bedridden experiences to document other cases worldwide, providing a stirring collage of stories to illustrate the destructive impact of the disease and why it remains widely neglected by the medical community.
  30. Woodshock offers a whole lot to look at, but not all that much to see.

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