indieWIRE's Scores

  • Movies
  • TV
For 767 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 14.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 76
Highest review score: 100 Boyhood
Lowest review score: 0 Pixels
Score distribution:
  1. Negative: 19 out of 767
767 movie reviews
  1. V/H/S 2 smartly contextualizes its nightmarish cavalcade of violence by acknowledging the luxury of enjoying it from a distance.
  2. No matter its conceptual intentions, It Follows never ventures too far from visceral horror. Mitchell populates a number of scenes with well-timed jump scares as the being frequently bursts out of the shadows or appears in unexpected forms, while the score provides a screaming punctuation mark.
  3. West, who demonstrated a penchant for extensive build-ups in "The House of the Devil" and "Trigger Man," continually makes it unclear if the inn actually harbors a ghost or if his heroine (Sara Paxton) has simply imagines it. Both she and her hilariously frazzled co-worker (Pat Healy of "Great World of Sound") want to believe in supernatural affairs for the thrill factor alone.
  4. Directed by Blume's son Lawrence, this gentle drama based on Blume's 1981 novel works surprisingly well considering the numerous trappings of the material, while demonstrating exactly why it's so difficult to bring Blume's work to the screen.
    • 77 Metascore
    • 83 Critic Score
    Huppert gives a virtuoso performance here — not only because she deftly meets the extreme physical challenges of her role, but by playing Maud with unabashed humor and heart.
  5. Sachs skillfully explores dangerous extremes -- not only drug addiction, but the slipperiness of attraction.
  6. Moors isolates a well-known drama with the fleeting nonfiction prologue and explores it from the inside out: It's not an attempted reenactment, but it does aim to get at certain truths.
  7. Schroeder tracks the end of innocence in much the same way that the strip captured it each time out. Unlike "Salinger," he hardly makes a spectacle out of Watterson's secluded tendencies. The pileup of interview subjects speak eloquently on his behalf.
  8. Maintains a funny and sad focus on its single petulant subject.
  9. It's been so long since Lee made such a thoroughly amusing work that fans should have no problem excusing its messiness. But make no mistake... Oldboy is all over the place, sometimes playing like a subdued melodrama and elsewhere erupting into flamboyance and gore.
  10. Political only by implication, Zero Bridge works in a larger sense as a story of universal longing.
  11. Pina is a beautiful, heartfelt ode and a delicious feast for the eyes, but not an essential work of art on its own terms.
  12. Before its spell unravels with overdone theatricality and on-the-nose flashbacks, Caterpillar succeeds as a kind of representational horror movie.
  13. The filmmaker is ultimately better at constructing nuanced environments and troubled figures than making every piece of the equation gel as a whole. But that's a minor issue in the overall tapestry of Chandor's carefully designed world.
  14. Edited in a frenzied mashup of concert fragments and off-stage exchanges, The Punk Singer generally overcomes its rough production values by realizing the energy of Hanna's achievements in terms of her passion and physical prowess.
  15. No stranger to crafting excessive anticipation, Reichardt has funneled that skill into thriller clothing. However, like all of her output, nothing is as simple as it looks.
  16. The central appeal of The Trip is that it's only a comedy in bits and pieces. Overall, however, Winterbottom constructs a thoughtful and generally sad portrait of Coogan's persona as a man unsure of his next move.
  17. The Divide manages to transcend its numerous flaws while indulging them: No matter where it falters, the underlying purpose stays put.
  18. To the Wonder renders the familiar terrain of romantic dysfunction on a grand scale. Malick haters may not change their tune, but at least they can admit that To the Wonder maintains a consistent thematic focus.
  19. Unlike recent activist documentaries about animal cruelty like "The Cove," Leeman's narrative doesn't feature any real villains. Balding's bond with Flora leaves him in a perpetual state of uncertainty about which possible new home for his elephant would provide the safest habitat.
  20. Post Mortem portrays the specter of dictatorship through the lens of one man's private hell.
  21. The real triumph of Obvious Child involves its ability to make familiar ingredients work just fine on their own terms. In doing so, it makes up for a lot of lost time in the pantheon of female-centric comedies, and studios would be wise to take note.
  22. Anchored by a funny and especially credible performance by newcomer Miles Teller, Ponsoldt's follow up to his alcoholism portrait "Smashed" has all the hallmarks of a bittersweet teen drama with flashes of realistic comedy on par with "Say Anything" and "The Breakfast Club."
  23. Love & Mercy is an engrossing portrait of Wilson's specific artistic inclinations, which draw from no real precedent.
  24. A totally wacky head-trip with midnight movie sensibilities and a daring avant garde spirit, Glazer's movie is ultimately too aimlessly weird to make its trippy narrative fully satisfying, but owes much to Johansson's intense commitment to a strangely erotic and unnerving performance unlike anything she has done before.
  25. While it eventually devolves into exploring the terrifying prospects of something hairy lurking about in the shadows, Goldthwait uses that thrill factor to validate the commitment of Bigfoot believers. Willow Creek never feels like an attempt to proselytize, but it's a smart recognition of the dangers involved in doubt.
  26. A bonafide family drama, proof that the noir has humanistic roots. It left me feeling thankful for persistent movie traditions.
  27. Showing the uneasiness of a first-time documentarian, Rapaport has a difficult time exploring the drama. That has extended beyond the movie itself and into a long-running media dispute with Q-Tip, who has refused to plug the movie.
  28. As a director, he finally shows a willingness to work on the same wavelength of the material instead of adding distracting bells and whistles that overstate his characters' grievances.
  29. Wright's extraordinary long takes draw you into the universe of Anna Karenina with a seamless approach that a straightforward literary adaptation could never accomplish.

Top Trailers