indieWIRE's Scores

  • Movies
For 651 reviews, this publication has graded:
  • 78% higher than the average critic
  • 2% same as the average critic
  • 20% lower than the average critic
On average, this publication grades 14.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 76
Highest review score: 100 A Girl Walks Home Alone at Night
Lowest review score: 0 In Secret
Score distribution:
  1. Negative: 12 out of 651
651 movie reviews
    • 90 Metascore
    • 100 Critic Score
    Ida
    Pawlikowski doesn't punish his viewers, he simply challenges them. Take the vow to dedicate your attention to Ida and you’ll be rewarded deeply.
  1. Rather than building towards the finality of a single climax, Leviathan injects several of them into the tapestry of its elegant design.
  2. While adhering to an internal logic that makes each punchline land with a satisfying burst of glee, the movie nevertheless stems from genuine fury aimed a broken world. It's the rare storytelling endeavor that manages to be laughably absurd and profoundly tragic at the same time.
  3. Rather than relish in the stark proceedings, Manuscripts Don't Burn preys on its viewers' imagination, leaving several deaths and other dreary outcomes off-screen. In the unbearable tension of its final moments, the movie arrives at an expected destination, but the outcome stings more than anything preceding it.
  4. Compared to "The Act of Killing," Oppenheimer's technique with The Look of Silence is deceptively simple, but it applies a more traditional style of documentary storytelling to extraordinary goals.
    • 66 Metascore
    • 100 Critic Score
    Via his subject’s idiosyncracies – VanDyke is a habitual hand-washer and diagnosed OCD-ite – Curry starts to weave a subtle, but nonetheless eloquent critique not just of one man's compulsions, but a culture's.
    • 52 Metascore
    • 100 Critic Score
    It turns material that could have resulted in a sporadic narrative into a profound statement that the Arab Spring is a continuation of humanity's constant efforts to make a better, more just world.
  5. Suleiman's most poignant moments are largely wordless. Nothing feels more affecting than Suleiman's ubiquitous frozen stare. Although he never utters a sound, his silence speaks volumes about the inability to resolve the social ramifications of Middle Eastern strife.
  6. Although Madsen's survey of warning strategies has an aimless structure prone to repetition, he creates an effective mood that transcends his time-travel gimmick and eventually becomes topical.
  7. It may go without saying that Poetry adopts a lyrical tone, but this forms the crux of its appeal. In this case, the title says it all.
  8. Never indulging in outright scare tactics or loose improvisation, the movie primarily works like an awkward narrative that plays with perspective.
  9. Unable to express the sorrow of Cory's passing or the larger sense of detachment from the world it represents, most of the people in Putty Hill try to remain disaffected. By pestering them with questions, Porterfield gets under their skin - and, in the process, ours as well.
  10. Representing lower-class violence taken to an extreme, the cannibalism cannot be contained by police work. The movie's gradual build to a thrilling, appropriately bloody climax intensifies this disconnect.
  11. Ignore the precise religious context and it stands perfectly well as a restrained look at personal convictions in the face of certain death.
  12. A comedy of remarriage buried in intellectual abstraction and cinephilic obsessions, Certified Copy wanders a bit but never loses focus, with the only certainty being that its gimmick is genuine.
  13. Showcases Jones' ability to provide ample entertainment value with sharply drawn characters in a minimalist setting.
  14. Frammartino keeps the material engaging simply by aiming the camera at his subjects and letting the material organically emerge-rather than enforcing the supernatural element with overstatement.
  15. The visual collage retains a consistent melancholy, resulting in an experience that's both deeply affecting and-since José never actually appears on-camera-utterly detached.
  16. Potiche successfully satirizes the gender politics at its core. At the same time, it knowingly mocks the obsession over debates about the suppression of women that pervaded the culture during the movie's setting.
  17. Greene's patient, understated portrait renders a universal rite of passage in strangely alluring, poetic terms.
  18. To Die Like a Man deserves your attention for showcasing a filmmaker with the capacity for bold narrative trickery that doesn't come at the expense of emotional investment.
  19. The first-time director's refreshingly credible portrait of a boho character with Middle Eastern origins rectifies the aforementioned canonical gap in a witty, naturalistic generational snapshot.
  20. Herzog naturally plays up the enigma at hand with epic grandeur, occasionally overdoing it but usually hitting the mark.
  21. More meditation than movie, Terrence Malick's The Tree of Life is bound to mystify, awe and exasperate in equal measures.
  22. Film Socialism is a weighty, intentionally cryptic product that's easy on the eyes and heavy on the mind.
  23. Mills fashions the set-up for an overwrought, thoroughly depressing character study into an oddly charming comedy. It's a midlife crisis gently portrayed with sympathy rather than grief.
  24. Jacobs, working from a script by Patrick de Witt, takes a conventional coming-of-age story and does it proud, enlivening the plot with an almost experimental portrait of alienation and despair.
  25. By favoring mood over plot, "Myth" explores what it feels like to transition into youth adulthood and face harsher truths.
  26. Steve James's The Interrupters runs long, but earns its heft.
  27. Weekend builds into a powerful encapsulation of an identity crisis over the course of three passionate days.

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