indieWIRE's Scores

  • Movies
  • TV
For 748 reviews, this publication has graded:
  • 77% higher than the average critic
  • 2% same as the average critic
  • 21% lower than the average critic
On average, this publication grades 14.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 76
Highest review score: 100 Green Room
Lowest review score: 0 In Secret
Score distribution:
  1. Negative: 17 out of 748
748 movie reviews
  1. 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.
  2. 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.
    • 46 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.
  3. 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.
    • 70 Metascore
    • 58 Critic Score
    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.
  4. 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.
    • 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.
  5. 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.
  6. 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.
  7. 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.
    • 43 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.
  8. 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.
  9. A loud, visually assaultive assemblage of genre tropes as technically accomplished as it is difficult to watch, "The Strange Color of Your Body's Tears" has plenty to impress while simultaneously offering so little.
  10. By virtue of its style and high stakes scenario, End of Watch is impressively tense, but then so are most episodes of "COPS," which don't suffer from the forced melodrama found here.
  11. In between the meandering exchanges lies an unquestionably thoughtful interrogation of a broken system.
  12. A supremely dense coming-of-age drama steeped in weighty blather at the expense of emotional validity.
  13. The mystical allure of this long-awaited "lesbian werewolf movie" turns out to have more value than the real thing.
  14. Ellen Barkin puts on a bold, candid performance in Cam Archer's Shit Year, but the enigmatic movie is composed of too many fragments to sustain her efforts.
  15. By its later scenes, Chef only finds respite from its bland qualities through the scrumptious-looking dishes constantly on display. As self-indulgent vanity projects go, this one's pretty innocuous, if only because it's always easy on the eyes.
  16. Magic in the Moonlight belongs to the pool of lesser Allen comedies, yet Firth and Emma Stone — as the alleged necromancer Sophie Baker, the object of Stanley's scrutiny and eventually his affections — bring all the zany energy they can muster.
  17. Like its tattered setting, The Rover is scattered with intriguing ideas never successfully fleshed out.
  18. While Redford frames the drama with a tense atmosphere, it doesn't shake the sense that we're watching a tame made-for-TV affair.
    • 79 Metascore
    • 58 Critic Score
    Fincher likely prides himself on turning coal into diamonds at this point, but Flynn's script can feel so retrograde at times that one wonders whether it might have been better served by a De Palma, Bigelow, or even a Verhoeven — which is to say, a filmmaker less concerned with making the lascivious seem prestigious.
  19. This is still a pretty familiar journey that's easier to pity than hate -- much like Caplan's character.
  20. Hiding behind a shaggy beard and a stoner grin, Paul Rudd plays an amusingly oblivious shlub in Our Idiot Brother, but the movie can't keep up with his comic inspiration.
  21. Rosewater is lacking in sophistication, but its attitude is infectious.
    • 73 Metascore
    • 58 Critic Score
    Slow West certainly makes a valiant effort to reach beyond expectations of its genre, even leaving room for some welcome tongue-in-cheek humor when it's least expected. But at the end, all its waffling between various stylistic touchstones fails to hold much interest.
  22. It's a period piece composed of familiar pieces, none of which have much to say beyond surface elements that have been explored countless times before. Using a typical coming-of-age mold, Chase turns cultural ephemera into formula.
  23. Marred by excessive sentiment, it has a buoyancy and a hook that makes it stand out -- but they're elements that would help it kill on Broadway (as it already has on the Australian stage) a lot better than it does onscreen.
  24. This tame exercise never quite jives and sometimes just bombs with one-note melodrama, but always maintains Thornton's conviction about the material.
  25. Whereas "The Avengers" felt like a reimagining of the paradigm for superhero movies, Age of Ultron has air of a rerun. Though impressively made and visually remarkable, it suffers from the hollowness that plagues so many blockbusters carrying the sense that we've been through this before.
    • 60 Metascore
    • 58 Critic Score
    Can Anna Kendrick save the movie musical with The Last Five Years? The answer is no — and yes.
  26. Small touches point to a slightly better movie hiding beneath most of the routine, particularly the respectable finale that stops just short of the clichéd resolution expected of it. On the whole, however, The Way, Way Back dances to a tune we've heard too many times before.
  27. It’s a dazzling showcase of fantasy-based filmmaking in the 21st century that also manages a feeble attempt at injecting feminist politics into an antiquated narrative. Yet its eventual climax strains from the obviousness of these efforts.
  28. As ghost stories go, this one's done just well enough to provide reminders of how it has been done better.
  29. Wan seems to critique the third act failings of The Conjuring during the alarmingly superior first half.
    • 62 Metascore
    • 58 Critic Score
    It's not a terrible film, and succeeds in giving us a play by play of an alleged dynamic between two individuals, but as a whole feels like a missed opportunity.
  30. Smothered by its lighthearted approach, The Monuments Men attempts to make a grand statement about the valiance of dying for the sake of art, but fails to create it.
  31. Predominantly a failure of tone, Horns has plenty of admirable traits and yet dooms itself from the outset. It's an admirable conceit stuffed into far less subtle material.
    • 51 Metascore
    • 58 Critic Score
    The numerous belly laughs are undermined by jarring flashes of darkness that never organically sync with the plot.
  32. While certainly the most dazzling Superman movie to hit the big screen, the 143-minute Man of Steel is also the longest, and it only justifies that heft because it leaves room to keep the effects coming.
  33. Love plays out like the fragmented outline for a more engaging movie. But the one found here lacks substance both on the level of story and graphic reveals.
  34. While not without its touching moments, "Mister and Pete" is inevitably defeated by its own good intentions.
  35. The problem with Outside Satan is that the filmmaker has remained faithful to expectations without enlivening them. It's a curious exercise unworthy of his expertise, but then he may realize as much.
  36. The reality is that Passion Play has a few good ideas that simply don't hold together. More of a miscalculation than an outright dud, it takes the form of a wildly surreal western fantasy, something that Chilean madman Alejandro Jodorowsky ("El Topo") could have executed with more rigorous invention.
  37. Neither goofy enough for camp status nor lackluster enough for extreme derision, Son of No One is just mediocre enough to be an easy target.
    • 47 Metascore
    • 50 Critic Score
    The way it reaches to find the humanity in a place devoid of hope shows admirable attempt at a singular vision. But Paltrow overestimates the timeless nature of the story.
    • 40 Metascore
    • 50 Critic Score
    You’ll get little more than a refresher course in the art of gaming from this documentary.
    • 73 Metascore
    • 50 Critic Score
    Part road-film, part-gambling excursion, and part-bromance, the film does show the influence of its talented directors. But falters when it comes down the story itself.
    • 74 Metascore
    • 50 Critic Score
    The movie casts a wide net, but doesn't explore its themes long enough to make any substantial points. Despite its authentic setting, Ten Thousand Saints never gets around to providing a gratifying story to accompany it.
  38. Writer-director David Ayer’s brash, assaultive Brad Pitt drama manages some evocative imagery and achieves visceral impact by enacting a hellacious atmosphere that never lets up — but Ayer takes the mission too literally, and winds up literally lost in the fog of war.
    • 57 Metascore
    • 50 Critic Score
    The Gift to Stalin could have benefited from a less complex approach, something that would've actually hit the notes the filmmaker had aimed for. Unfortunately, he needed to try it all. Little of it succeeds, which can be rather draining at times, and not in the way he intended it to be.
  39. The innumerable change-ups in The Perfect Host only pretend to take the plot in new directions. In reality, each new twist is perfectly derivative, which leads to a host of problems.
  40. Whereas "The Apostle" was a passionate effort for Duvall that he spent years pulling together, Wild Horses feels more like a vanity project that eschews polished storytelling for half-baked conceits.
  41. Maïwenn's evidently tight control over her performances once again shows its strength within the context of individual scenes, where the characters' attitudes often convincingly shift from blithe to furious in a matter of minutes. But the overall arc of their developing relationship fails to convince.
    • 65 Metascore
    • 50 Critic Score
    Margherita's failure to elaborate on her grief is mirrored in Moretti's failure to construct a coherent film where the spectator can find a way into its meaning, rather than being caught in a confused web of suggestions, half-baked ideas and circular exposition.
  42. The movie is like one thin satiric lark inexplicably slowed down to the point of lethargy.
  43. Braff hasn't made another generational statement, but rather a regurgitation of tropes that got old a long time ago.
  44. Bogged down by flashbacks and flash forwards, The Bastards pointlessly mixes up its ingredients, creating a distancing effect from the tangible sadness at its core. The result is the rare case of a movie that confirms its maker's skill while wasting it on useless ambition.
  45. Even as it makes the facile Palin-for-president case, fence-sitters will find themselves non-plussed and existing Palin haters won't budge.
  46. Even Allen himself, appearing in front of the camera for his first role since 2005's "Scoop," looks a little lost in the mess.
  47. At times Midnight's Children balances off its earnestness with a sweeping view of history and tangible human drama, but the allegorical qualities of Rushdie's novel fail to translate as anything but a shrill, on-the-nose instance of thematic overreaching.
  48. The director's murky, ill-conceived take on the world's oldest disaster story contains some of the most pristine visuals produced on a mass studio scale in some time. But it's also constantly tethered to a dull, melodramatic series of events out of whack with any traditional interpretation of the material.
  49. Exodus: Gods and Kings illustrates a typical contradiction of commercial entertainment: By playing it safe, the movie fails to enrich the material, and never captures the energy that has made its narrative so captivating for millennia.
    • 53 Metascore
    • 50 Critic Score
    Eubank’s talent for creating impressive worlds with few resources is the movie's strongest aspect, but the concept feels like a never-ending exposition of technique without sufficient depth.
  50. Shows none of the edgy storytelling looniness present in Stiller's finest work. Instead, every element seems calculated to service an easygoing commercial product that plays up the sentimentality of the scenario while rendering it inoffensively bland.
  51. The movie's uneven tone and ridiculous twists never quite gel, but Knock, Knock is so eager to please that it's hard not roll with the absurd depravity on display — which has been the essence of Roth's appeal from the outset.
  52. Hooper's approach comes across as the equivalent of sitting in the front row of a stage play while the entire cast leans forward and blares each song into your eardrums.
  53. A well-intentioned and resolutely minor period drama, "Big Eyes" isn't exactly a catastrophe, but its bland depiction of a fascinating story perhaps better served by the documentary treatment shows no evidence of the visionary creator behind the camera.
  54. Welcome to the world of white people problems, ground zero for the strain of American comedies that Apatow does best. But does he really?
  55. The younger Mann goes through the motions of a gritty murder mystery with plenty of technical proficiency but only a modicum of soul. The Mann touch is not only in the DNA of the director but in her movie, which inadvertently makes the case that atmosphere is more hereditary than innovation.
  56. The actor's pathos and deadpan skills are buried in the material, which also suffers from a continuous lack of inspiration. It's high-minded entertainment with low ambition.
  57. A lazily plotted and largely generic thriller.
  58. Portman's screenplay shortchanges the dramatic potential of the material in favor of a by-the-numbers period piece.
  59. Sarah's need to save her brother provides the initial raison d'être, but with the mystery is resolved early on Sarah's Key turns into a flimsy meditation on grief.
  60. It's painful to watch Red Hook Summer stumble, because the man behind it has tried so hard to get his groove back. However, it's energizing in the fleeting moments when he does just that.
  61. Aftershock has no earth-shattering revelations to make its mayhem stand out in the wreckage.
  62. There's nothing slick or entertaining about the crumbling existence of Pomes' unsalvageable antiheroes.
    • 41 Metascore
    • 50 Critic Score
    While it has a few appealing qualities, as a whole it amounts to a well-intentioned bag of missed opportunities.
  63. The action scenes in Machine Gun Preacher work fine on their own, but they cheapen a work that attempts to command great importance.
  64. Paranormal Activity 3 hardly adds anything new to the situation; instead, it pretends to fill a gap while basically just heaping on one calculated "boo!" after the other.
  65. Intentionally or not, however, Fading Gigolo actually functions as something of a statement on Allen's persona—onscreen and off—as it has been understood in the public eye. And the resulting conclusion, like the movie, is a decidedly mixed bag.
  66. Eventually suffers from a lack of new ideas beyond its initial premise that finds the two brothers inadvertently swapping roles. Once that happens, the movie takes one bland twist after another.
  67. Lone Survivor is a grotesque action movie at times impressively directed by Peter Berg that combines the brute masculinity with the ugliness of the battlefield and viscerally unsettling shock value. But it's less a depiction of courage than a brutish magnification of anger and pain, both of which it conveys a lot better than the high ground that it reaches for.
  68. An uneven, intermittently thoughtful but largely preachy overview of WikiLeaks' rising influence that has less of an issue determining Assange's character than it does with telling a compelling story.
  69. The Search lacks the the credible emotions of the original and never assembles a convincing reason for its existence.
  70. The whole thing is a fairly yawn-a-rific affair until the vengeful prologue establishes a wicked role reversal, hinting at the better movie that filmmakers more interested in storytelling would have made.
  71. Rather than making his own movie, Gosling has composed a messy love letter to countless others.
  72. Unfortunately, Lawless lacks the same darkly energizing spirit that made "The Proposition" such a revelation: It has plenty of gunplay, scowling showdowns and dust-caked setpieces, but little in the way of dynamic filmmaking to imbue those elements with life.
  73. Emmerich takes the story at face value and delivers a film unlike any of his others. That is to say, a boring one.
  74. Dreams of a Life unintentionally amounts to a mean-spirited snooze.
  75. Lockout consists of disciplined action pastiche, but much of its thundering engine borrows from better movies.
  76. Directed by Sam Taylor-Johnson from Kelly Marcel's screenplay, the considerable talent behind the camera and a modicum of considerable performances yield a few undeniable guilty pleasures, but most viewers will be seeking a safe word to escape this two-hour-plus mess of half-baked excess.
  77. Luhrmann's The Great Gatsby has the hallmarks of a contemporary Hollywood spectacle. It's missing the explosions, but make no mistake: Gatsby is one glitzy misfire.
    • 45 Metascore
    • 42 Critic Score
    Focusing on cultural references and social cues, About Alex fails to give us a big picture compelling enough to overlook its flaws.
  78. Flatly directed by Stephen Herek from a screenplay by S.J. Roth, the movie seems to be at peace with its mediocrity. As a vehicle for WWE champ Paul "Triple H" Levesque, it's haplessly stuck on cruise control.
    • 49 Metascore
    • 42 Critic Score
    The Sacrament is a missed opportunity to further expand West's pallet. Instead of twisting conventions and playing with expectations, West plays into expectations.
  79. Men, Women and Children is so married to the idea of humanity's insignificance that it presents support for that argument with its very existence.

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