Indiewire's Scores

  • Movies
  • TV
For 1,133 reviews, this publication has graded:
  • 69% higher than the average critic
  • 3% same as the average critic
  • 28% lower than the average critic
On average, this publication grades 10.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 73
Highest review score: 100 A Girl Walks Home Alone at Night
Lowest review score: 0 Pixels
Score distribution:
1133 movie reviews
  1. A film that often avoids any middle ground, making for a cut-and-dried courtroom tale that desperately wants to be anything but.
  2. 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.
  3. 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.
    • 42 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.
  4. Moore’s premeditated attempts to wring some laughs out of this category 5 shitstorm are so half-assed that you wish he hadn’t bothered.... It’s as though he realized that the film could have been just as successful as a podcast, and compensated for that fact by shoehorning in some needless visual razzmatazz.
  5. 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.
  6. Although Farr layers on the creepy until the last frame of The Ones Below, the film's ultimate reveal is hardly shocking, and that the film spends a gratuitous amount time unspooling it long after it's clear what has gone down feels indulgent and unearned.
  7. 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.
  8. By no means a great piece of filmmaking, Blood Father nevertheless recaptures some of the rough attitude of Gibson's "Mad Max" days, as he shoots, growls and head-butts through a routine tale of angry drug lords.
    • 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.
  9. 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.
  10. No amount of strong performances and good vibes can hide the sense that we’re just watching a paint-by-numbers routine. Nair puts so much effort into galvanizing the movie’s central figures that the slightest hints of conflict register as little more than an inconvenience.
  11. There’s just enough history about lucha libre to make you curious to learn more.
  12. Melissa McCarthy is hilarious in every scene of The Boss, but the movie rarely keeps up with her.
  13. 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.
  14. 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.
    • 56 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.
  15. This is a movie of remarkable scale; on the level of sheer craftsmanship, it offers some appeal. If only Gowarikar had put the same level of effort into the story.
  16. 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.
  17. Allied can never settle on a consistent tone, bumping along from smooth spy adventure to stylized war picture to treatise on marriage, all peppered with stilted attempts at humor for an added dash of incomprehensibility.
  18. 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.
  19. Hill embodies everything that’s best about the film around him: He’s funny, daft and broken in a way that’s more fun to gawk at than it is to fix. In a story that’s supposedly about the payoffs and perils of taking big risks, he’s the only one who puts his money where his mouth is.
  20. 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.
  21. Kim Jee-woon will always gravitate towards the bleaker side of the things, but “The Age of Shadows” suggests that his stories might benefit from just a little bit more light.
  22. In between the meandering exchanges lies an unquestionably thoughtful interrogation of a broken system.
  23. A supremely dense coming-of-age drama steeped in weighty blather at the expense of emotional validity.
  24. The mystical allure of this long-awaited "lesbian werewolf movie" turns out to have more value than the real thing.
  25. Though it falls short of its goals, Tallulah is an ambitious first film for Heder. A valiant effort, but ultimately, like its characters’ lives, a missed opportunity.
  26. While the new Ghostbusters successfully empowers female movie stars, that’s not the movie’s selling point. However, it’s the only justification for its existence.
  27. 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.
  28. 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.
  29. Trumbo works well enough as a general survey of Trumbo's life and career, a primer on a complicated man who endured a terrible injustice, but it fails to really engage with the material, to dig deep for significant themes and salient meanings
  30. 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.
  31. While it may seem instinctual to want an R-rated “Batman,” especially from a graphic novel that would deserve the rating without alterations, Batman: The Killing Joke is borderline unsettling — and not in a good way.
  32. 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.
  33. Like its tattered setting, The Rover is scattered with intriguing ideas never successfully fleshed out.
  34. As a 92-minute commercial for a deeper look at the case, Amanda Knox is unquestionably intriguing; as a standalone offering, it makes one hell of an airtight case for something bigger and better.
  35. Expert craftsmanship can't rescue Triple 9 from the constant feeling of a pulpy remix.
  36. It’s a story that has its share of unnerving sequences, but like its pivotal character, it feels stuck between two worlds.
  37. 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.
  38. Nearly (but not quite) redeemed by its good nature and the megaton charisma of its two stars, Central Intelligence is a dopey blockbuster diversion that will surely keep United Airlines passengers entertained during the dog days of summer.
  39. For almost 45 minutes, Yeon Sang-ho’s Train to Busan is on pace to become the best, most urgent zombie movie since “28 Days Later.” And then — at once both figuratively and literally — this broad Korean blockbuster derails in slow-motion, sliding off the tracks and bursting into a hot mess of generic moments and digital fire.
    • 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.
  40. Slash is much sweeter than it is satisfying, but it smartly observes that the road to adulthood has never been paved, and it makes a convincing enough case that teens shouldn’t be afraid of driving down their detours.
  41. This is still a pretty familiar journey that's easier to pity than hate -- much like Caplan's character.
  42. 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.
  43. Rosewater is lacking in sophistication, but its attitude is infectious.
  44. 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.
  45. A Hologram For the King never congeals into a single, involving story.
  46. 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.
  47. 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.
  48. In theory, Election Year offers a form of catharsis from contemporary anxieties by turning them into entertainment. Instead, this latest entry in a ridiculous franchise has become a victim of its own sick joke.
  49. This tame exercise never quite jives and sometimes just bombs with one-note melodrama, but always maintains Thornton's conviction about the material.
  50. 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.
  51. 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.
  52. 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.
  53. 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.
  54. 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.
  55. Despite some clumsy moments, My Big Fat Greek Wedding 2 handily revives the first movie's appeal.
  56. It never crystallizes into a singular experience, and instead collapses in a rush of well-intentioned innovations.
  57. As ghost stories go, this one's done just well enough to provide reminders of how it has been done better.
  58. 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.
  59. 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.
  60. 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.
  61. 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.
  62. 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.
  63. 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.
  64. 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.
  65. 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.
  66. 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.
  67. 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.
  68. While not without its touching moments, "Mister and Pete" is inevitably defeated by its own good intentions.
  69. 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.
  70. 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.
  71. 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.
  72. 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.
  73. 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.
  74. A beautiful wisp of an idea that is seldom compelling and almost never coherent, Planetarium squanders an irresistibly alluring premise.
  75. Neither wacky enough to work as pure punchline, nor smart enough to bend its looniness into something more substantial, Storks views the world with the same confused outlook of its wide-eyed infants.
  76. When The Lovers and the Despot finally crawls to a close, you’re left with one thought above all others: This could make for a really great movie, some day.
  77. Despite the film’s gripping final chapter, its heroic Czechoslovakian characters are completely disconnected from the rest of the country, much like their struggle has been omitted from the cinematic legacy of the war they helped to win.
    • 77 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.
    • 62 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.
  78. 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.
  79. 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.
  80. 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.
  81. 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.
  82. The romantic scenes are cute, but they feel at odds with the drama. The laughs land like chuckles, the love registers as mere fondness, and the salient observation that countries recast themselves during wartime is reduced to a fleeting detail.
  83. It turns a major tragedy into a minor disaster movie.
  84. If there’s any interiority to Fields, Toller isn’t interested in finding it; Danny Says would much rather provide the umpteenth account of Andy Warhol’s social circle (to mention but one of the movie’s many asides) than dig beneath the dirt in an attempt to learn more about one of the key figures who helped shape that scene.
  85. This is irrefutably Kinnaman’s movie, but Connolly fatally undervalues him. He doesn’t trust his actor to walk the emotional tightrope his film stretches taut before him, to sell us on the idea of a father digging himself deeper into a hole of his own design.
    • 70 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.
  86. The movie is like one thin satiric lark inexplicably slowed down to the point of lethargy.
  87. Braff hasn't made another generational statement, but rather a regurgitation of tropes that got old a long time ago.
  88. 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.
  89. [Dolan's] crafted the semblance of a substantial movie that never quite gets where it was supposed to go.
  90. Even as it makes the facile Palin-for-president case, fence-sitters will find themselves non-plussed and existing Palin haters won't budge.
  91. Even Allen himself, appearing in front of the camera for his first role since 2005's "Scoop," looks a little lost in the mess.
  92. 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.
  93. Gyllenhaal's alarmingly effective presence is enough to act circles around the soapy narrative of a fallen athlete's comeback so tightly that it crumbles in the very first act.
  94. 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.
  95. The story suffers from a distracting aura of self-importance. Vikander brings a remarkable tenderness to her character (who, in real life, left her husband's side much earlier) but Redmayne's sharp gaze and toothy smile make it virtually impossible to ignore the actorly feat on display.
  96. 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.
  97. Jason Bourne adheres to an existing format so robotically that it never manages to surprise or engage for longer than the occasional passing moment.
  98. It amounts to little more than frothy summertime entertainment—occasionally fun, but almost immediately forgettable.
  99. Unfortunately, while Julianne Moore and Ellen Page go great lengths to make the central romance convince, Nyswaner's undercooked script and Peter Sollett's direction have the opposite effect, reducing Freeheld to a tired formula.
  100. Every original drop of Bleed for This is lost in a sea of cliché and convention, and Younger seems totally incapable of separating the singular verve of his protagonist from the hackneyed arc of his defining ordeal.
    • 54 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.
  101. 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.
  102. 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.
  103. 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.
  104. Page and Wood navigate this difficult, often half-formed material with great tenderness and surgical precision — together, through thick and thin, they convey a feeling of great personal growth, revealing new wrinkles to their roles long after Rozema’s camera has stopped looking for them.
  105. 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.
  106. Welcome to the world of white people problems, ground zero for the strain of American comedies that Apatow does best. But does he really?
  107. 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.
  108. 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.
  109. A lazily plotted and largely generic thriller.
  110. Portman's screenplay shortchanges the dramatic potential of the material in favor of a by-the-numbers period piece.
  111. Qhile the 90-year-old Pennebaker doesn't appear to deviate from the observational aesthetic that has defined his life's work, Unlocking the Cage is nevertheless an ill-fitting first for he and his partner: an issue-based film.
  112. 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.
  113. 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.
  114. Aftershock has no earth-shattering revelations to make its mayhem stand out in the wreckage.
  115. Benoît Jacquot’s The Diary of a Chambermaid is a gorgeously mounted and dramatically inert bit of fluff that drapes itself over a smoldering Léa Seydoux but never manages to catch fire.
  116. Sandberg unquestionably has an eye for a great horror motif — and, given the frequent use of absolutely gut-churning ambient sounds and hair-raising scratching noises, an ear for it, too — and he’s assembled a strong cast to tell Heisserer’s expanded story, but even those smart decisions and clear talents can’t push Lights Out to brighter heights.
  117. 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.
  118. The action scenes in Machine Gun Preacher work fine on their own, but they cheapen a work that attempts to command great importance.
  119. There's an undeniable anthropological value to Allen's footage — imagine if one of David Koresh's most-trusted disciples had recorded every second of his time in the Heaven's Gate — but his film is far more compelling as an artifact than it is as a narrative.
  120. A blood-soaked, bone-crunching hymn to religious devotion and faith, Hacksaw Ridge doesn’t hum Mel Gibson’s favorite themes; it shouts them.
  121. The film arrives at its last shot with a sense of purpose, but Cedar’s clumsy plotting and uncharacteristically sterile compositions suggest that he’s charted the least enjoyable route to the film’s satisfying finale.
    • 75 Metascore
    • 50 Critic Score
    Split avoids being entirely tedious thanks to McAvoy’s standout performance as he cycles through those personalities, sometimes from line to line.
  122. In trying to squeeze a half-dozen life stories into its running time, Hands of Stone, the new film about legendary Panamanian boxer Roberto Durán, magnifies that disappointing mistake.
    • 59 Metascore
    • 50 Critic Score
    Once again excelling, Zellweger has much to do with the safe transition of this new Bridget, maintaining all the old quirks and sweetness, but in a believably more mature shell.
  123. 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.
  124. 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.
  125. 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.
  126. 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.
  127. 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.
  128. The bigger these movies become, the smaller they feel. The more aggressively they reach for greatness, the more clearly they prove that its beyond their grasp. Marvel movies don't get much better than this. The trouble is, they don't want to.
  129. The Search lacks the the credible emotions of the original and never assembles a convincing reason for its existence.
  130. 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.
  131. Rather than making his own movie, Gosling has composed a messy love letter to countless others.
  132. 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.
    • 42 Metascore
    • 42 Critic Score
    If the first film was ploddingly, airlessly faithful to its source, this follows the second in being frantically paced, chaotic and increasingly exasperating.
  133. Frank & Lola is scattershot from the start, and never makes a compelling case for why its story is being told.
  134. Emmerich takes the story at face value and delivers a film unlike any of his others. That is to say, a boring one.
  135. Dreams of a Life unintentionally amounts to a mean-spirited snooze.
  136. This is the undead equivalent of fast food. Some might find comfort in all these known quantities. Those looking for anything of substance would do better to wait for an upgrade.
  137. Lockout consists of disciplined action pastiche, but much of its thundering engine borrows from better movies.
  138. Fine performances by Kate Winslet, Liam Hemsworth and Judy Davis help matters a bit, but the final product is so oddly cobbled together that the entire thing should be left hanging on the rack.
    • 60 Metascore
    • 42 Critic Score
    The movie is not without some small pleasures...but neither character is developed beyond broad characteristics, in spite of them occupying 95% of the film's taxing two-hour running time.
  139. 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.
  140. While “Jason Bourne meets Temple Grandin” might sound like an interesting idea for a studio write-off, “James Bond meets Michael Clayton meets Rain Man meets all of their friends and enemies” is a dull movie that’s too full of distractions to pay out any dividends.
  141. Rather than focusing on a cataclysmic showdown between pop culture's most famous men in tights, Zack Snyder's flashy, cacophonous follow-up to 2013's "Man of Steel" is basically one long teaser for the next installment.
  142. 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.
  143. 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.
  144. Trolls is a spectacularly empty fantasia of bad songs, bright lights, and militant happiness. But there’s no denying how well the film bludgeons you into submission when it gets into its groove.
    • 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.
  145. Burnt deals less with the food itself than the way it drives Adam to the brink of insanity. Yet it falls short of generating any real urgency surrounding that situation.
  146. Gans isn’t especially concerned with the outcome this coupling, instead reveling in overwrought and often bloated storytelling, lush details and some of the year’s most unnerving CGI.
  147. 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.
  148. The good news is that the story of Ben-Hur is so rock solid that not even the director of “Abraham Lincoln: Vampire Hunter” can screw it up completely.
  149. “Miss Peregrine’s” is a hollow ode to wonder and weirdness that suggests we’re running perilously low on both.
    • 61 Metascore
    • 42 Critic Score
    It's a shame that Guggenheim's slickly produced documentary examines such an important and fascinating story with such underwhelming results.
  150. Unfortunately, the unbridled shock value isn't matched by a similar investment in other ingredients that might have made this low rent B-movie worthwhile.
  151. Cruise’s undeniable star power is all that keeps “Never Go Back” from feeling like it came off a studio assembly line, though you’ll still spend most of the movie wondering if you’ve been swindled into watching a movie about Ethan Hunt’s luddite twin brother.
  152. It's a shame that the divine and human elements of this story are put into competition, because either one might have flourished on its own.
  153. A thin, dull, and by-the-numbers biography that fails to capture its subject’s irrepressible spirit or properly contextualize his importance.
  154. For all its vibrant, flamboyant aspects, “Dom Hemingway” is a resoundingly empty star vehicle. It gives Law a character too thinly crafted to justify his eccentricities. He acts his heart out for a role that has no heart.
  155. The film’s best moments are hollow and derivative, as borrowed from better fictions as any of the names that Alice takes for herself.
  156. Between the setting, the production design and a majority of the cast, Outlaws and Angels has the individual pieces to be something of merit. This particular revenge tale isn’t an example of incompetent filmmaking, just sadly misfocused storytelling.
  157. You may not want to spend more time with these characters, but you will want to sink deeper into their world — fortunately, the forthcoming videogame will allow players to do just that. Whether the game will make retroactively make “Kingsglaive” a more engaging movie remains to be seen, but there’s certainly room for improvement.
  158. Too robust to sink into the rhythms of a character study, but too financially limited to tell a story that matches the sweep of its director’s vision, Free State of Jones is a film divided against itself, and it cannot stand.
  159. A gleefully over-the-top celebration of silliness too in love with its outrageous characters and premise to make them gel. Scene after scene features a self-satisfied kookiness akin to spending time with a terrible comic unwilling to give up the mic.
  160. A barrage of screwing with interludes does not yield a cohesive movie. Watching Sexual Chronicles of a French Family, the one-note idea grows increasingly evident, as does its absence of fresh ideas.
  161. Cruz is radiant in her role, finding inner strength even when the script pushes Magda towards blind hope, and finding pain even when Medem insists that cancer hits with all the force of a bad night's sleep.
  162. Despite charming performances from Sally Hawkins and Ethan Hawke, this saccharine romance...rings a bit false from start to finish.
    • 5 Metascore
    • 42 Critic Score
    The Human Centipede III (Final Sequence) is just as repulsive, but far louder, and in color.
  163. Once again, the screenplay (by Johnny Rosenthal and Shauna Cross) goes out of its way to put terrible lines in its characters’ mouths and dares viewers to laugh. However, it’s gotten harder to take this form of jarring lowbrow humor, especially when it serves no purpose beyond shock value.

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