indieWIRE's Scores

  • Movies
For 622 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 14.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 76
Highest review score: 100 V/H/S
Lowest review score: 0 In Secret
Score distribution:
  1. Negative: 12 out of 622
622 movie reviews
    • 77 Metascore
    • 83 Critic Score
    Even as it delivers an emotional wallop, not every moment of "Calvary" goes down smoothly, as comedic scenes transition somewhat abruptly to tragic moments and the final reveal never reaches the heights of its Hitchockian inspirations.
    • 88 Metascore
    • 83 Critic Score
    The Babadook isn't a transcendent horror film. But its ability to handle and manipulate the conventional tropes apparent in so many of its peers makes it a satisfying ride.
  1. Sweetly funny and relatable, Happy Christmas builds on the director's previous work by channeling its strong aspects — naturalism and self-effacing, true-to-life humor — into a relatively straightforward but utterly enjoyable character study.
    • 65 Metascore
    • 83 Critic Score
    Drawing from the wellspring of her own life, Forbes' agile tone allows the film to indulge in heartbreak and humor with equal measure.
    • 67 Metascore
    • 83 Critic Score
    Even if the film doesn't leave much to ponder past the closing credits, it's enjoyable while it's unfolding, doing justice to the strengths of Shelton's ever-expanding filmography.
  2. Treasuring small victories and mood above all else, Land Ho! makes it possible to engage with its subjects' pathos and experience their sense of renewal along with them.
  3. There are moments when Tragos and Palermo run the risk of transforming their subjects into tools exploited for the sake of the movie's artistic vision, but the best part of Rich Hill is that its participants rise above the limitations of the material.
  4. Savagely assaulting the desperate state of a blue collar family man, the comedic thriller Cheap Thrills establishes a ridiculous premise early on and takes it to various extremes, again and again, until you just have to accept the crazy venture on its own terms or simply give up.
    • 71 Metascore
    • 83 Critic Score
    Fed Up is a glossy package that gets its warnings across loud and clear: we need to change what we eat.
  5. 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.
  6. 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.
  7. For Godard junkies Goodbye to Language is rich with Godard's temperament—and thus an enjoyable provocation, even if it doesn't all add up. But what Godard movie truly does?
  8. While not the director's canniest piece of filmmaking, it's unquestionably his angriest, politically motivated achievement. Every missive hits its target hard with a comedy-horror combo aimed squarely at the kind of commercial stupidity that Cronenberg has avoided throughout his 45-year career.
    • 66 Metascore
    • 83 Critic Score
    In telling his story, Amalric is greatly aided by his ace cinematographer, Christophe Beaucarne, whose images pick up on a great many tiny but telling details, as if life were a mosaic composed of an almost infinite number of parts that are all equally important for the bigger picture.
  9. 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.
  10. 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.
  11. It speaks to the masses with some treats for the discerning types in the back.
  12. A Most Wanted Man allows Hoffman to go out with not only one of his best performances, but one that epitomizes his strengths.
    • 80 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.
  13. Despite its ludicrous turns, the movie benefits from the far-fetched events for its sheer willingness to go there, not unlike Smith's goofy, self-deprecating public persona.
  14. Love & Mercy is an engrossing portrait of Wilson's specific artistic inclinations, which draw from no real precedent.
  15. Rock's savage wit comes through in the wry screenplay, which is loaded with topicality as it pokes fun at subjects ranging from Tyler Perry movies to Angry Birds.
  16. While We're Young is a clear-eyed satire of intergenerational tension that derives much of its comedy from a series of moments in which its mid-forties couple attempt to mesh with a younger crowder.
  17. This admittedly uneven first feature stands out for the way it sneaks up on you.
  18. Set in a barren juvenile detention center, the movie works as a grueling coming-of-age story, linking it to the likes of "4 Months, 3 Weeks and 2 Days," even if it lacks the same lasting appeal.
  19. Even as "Gabi" steadily slides downhill and ends with a shrug, it remains intermittently fun and never entirely unbearable-much like Gabi herself.
  20. Loveless proceeds like a messy younger sibling of Noah Baumbach's "Greenberg" as it tracks Andrew's ongoing denial of the mounting pressures to settle down, many of which come from his reasonably sane ex, Joanna (Cindy Chastain).
  21. In a sense, Heartbeats demonstrates that Dolan has a lot on his mind as a budding filmmaker.
  22. Like Stephen Walker's delicate nonfiction portrait "Young@Heart," it's a genuine heart-tugger about senior citizens rediscovering their youth by singing pop music; like Craig Brewer's crowdpleasing "Hustle & Flow," it sympathizes with a struggling rap artist without glossing over his flaws.
  23. Brody's engagement with the material prevents Wrecked from falling apart.

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