indieWIRE's Scores

  • Movies
  • TV
For 761 reviews, this publication has graded:
  • 76% higher than the average critic
  • 2% same as the average critic
  • 22% lower than the average critic
On average, this publication grades 14.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 76
Highest review score: 100 Take Shelter
Lowest review score: 0 In Secret
Score distribution:
  1. Negative: 18 out of 761
761 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.
    • 52 Metascore
    • 58 Critic Score
    Those expecting a balanced perspective might be tickled by the couple's chemistry but disappointed when the film opts not to make that relationship more central to the plot.
  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.

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