Indiewire's Scores

  • Movies
  • TV
For 1,226 reviews, this publication has graded:
  • 68% higher than the average critic
  • 3% same as the average critic
  • 29% lower than the average critic
On average, this publication grades 10.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 73
Highest review score: 100 12 Years a Slave
Lowest review score: 0 Mother's Day
Score distribution:
1226 movie reviews
  1. This tame exercise never quite jives and sometimes just bombs with one-note melodrama, but always maintains Thornton's conviction about the material.
  2. Lee often seems unsure of whether he's directing a comedy or a civics lesson, and the film only finds its wings in the moments when he realizes that the two don't have to be mutually exclusive.
  3. At a time when calls for diverse media dominate the industry, Hidden Figures hedges its bets with a family-friendly commercial solution: warm and fuzzy storytelling that’s both progressive and safe.
  4. It's one thing to make a minor, accomplished work after focusing on grander statements, but Julieta mainly disappoints because it feels like the kind of straightforward, unadventurous drama that the filmmaker generally excels at reinventing through his own peculiar vision. This time, he plays it too safe.
  5. 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.
  6. 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.
  7. 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.
  8. Despite some clumsy moments, My Big Fat Greek Wedding 2 handily revives the first movie's appeal.
  9. It never crystallizes into a singular experience, and instead collapses in a rush of well-intentioned innovations.
  10. As ghost stories go, this one's done just well enough to provide reminders of how it has been done better.
  11. Not only is “Rogue One” the rare modern blockbuster that could have afforded to risk something real, it’s the rare modern blockbuster that gave itself a genuine responsibility to do so. And yet, for all of its excitement and occasional splendor, there’s nothing the least bit rebellious about it. It could have been special, instead it’s just… forced.
  12. Ultimately, Robbins’ domineering character is so well-calculated that it appears Berlinger couldn’t peer beyond the curtain even if he tried. That fascinating dilemma makes the movie worth watching even though it presents an incomplete picture.
  13. The bone-crunching action and relentlessly blood-letting feels out of place, and as those sequences start appearing with more frequency, the film loses much of its rangy charm.
  14. Long-time fans of Joplin's music will likely not find much new material to relish in "Janis: Little Girl Blue," and if the film earns any new acolytes for the songstress, it will be the result of Joplin's own charisma, not of the presentation of the film built so shakily around her.
  15. Wan seems to critique the third act failings of The Conjuring during the alarmingly superior first half.
    • 59 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.
  16. 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.
  17. 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.
  18. The hit rate gets better as the film lumbers along and the scenarios grow more extreme, but it takes a certain degree of perseverance to roll with this thing until it pays off.
    • 51 Metascore
    • 58 Critic Score
    The numerous belly laughs are undermined by jarring flashes of darkness that never organically sync with the plot.
  19. 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.
  20. Unlike so many comedies, Sausage Party only gets funnier as it goes along — there are dozens of duffed jokes along the way...but the script mines its demented premise for its full potential, and the plot crescendos to an ending so good that you’re likely to forgive many of the dull moments that came before it.
  21. 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.
  22. It’s frustrating that West often scores with his few modest attempts to stamp his own imprint on the genre, as those flashes of fun hint at what this movie could have been.
  23. While not without its touching moments, "Mister and Pete" is inevitably defeated by its own good intentions.
  24. 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.
  25. This immaculately furnished film sacrifices too much drama in order to expound upon its characters’ ideals, and sacrifices too much exploration of those ideals in order to accommodate for a healthy degree of drama.
  26. You might as well be watching the last 15 minutes with your eyes closed, which is a shame, as the first half of Carnage Park makes a strong case that Keating is someone whose stuff is worth seeing.
  27. 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.

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