indieWIRE's Scores

  • Movies
For 694 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 14.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 76
Highest review score: 100 People, Places, Things
Lowest review score: 0 In Secret
Score distribution:
  1. Negative: 15 out of 694
694 movie reviews
  1. 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.
  2. While its main characters are tough-minded, Rust and Bone is itself pure heart.
  3. Pummeling forward from its first diner-set fight scene to a sweeping final showdown on the beach, Haywire is a literal blast.
  4. While not his best work, Like Someone in Love is a nimble expression of Kiarostami's appeal: He remains one of the few directors capable of pulling you into a narrative and making you question its motives at every turn.
  5. 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?
  6. Robot and Frank succeeds where "Ted" fails because, unlike McFarlane, Schreier and Ford render the relationship between the human character and the robot in largely credible terms.
  7. Gibney's narrative drags to some extent when the focus widens to explore the Vatican's overall policy for covering up sex scandals, but he successfully demonstrates the systematic failure of a system designed work flawlessly on the basis of spirituality that never existed in the first place.
  8. Where "Bridesmaids" has plenty of solid gags, it's not much to look at; Submarine always has something impressive to watch even when its plot is on autopilot.
  9. Nothing about Dead Man's Burden reeks of homage to oaters of yore -- instead, Moshé has made a legitimate entry in a genre he clearly adores.
  10. Gray's fifth directorial effort is a conflicting experience admirable and powerfully executed in parts, cold and meandering in others.
  11. The grim subtext of The Wind Rises goes largely unacknowledged, leading to a gaping hole in this otherwise beautifully realized narrative that celebrates the power of curiosity as a motivating force.
  12. Dealin' With Idiots is powered by a cast of terrific character actors.
  13. With its subject still behind bars and the Russian government on the brink of reelecting Kremlin's United Russia party, the biggest triumph of Khodorkovsky is the case it makes for a sequel.
  14. Burton's id explodes onto the screen with a plethora of demonic mutated critters.
  15. Decker's narrative work practically celebrates a willingness to follow outright silly pathways in order to arrive at unsettling results.
  16. Big Words at times seems like it's heading towards a microbudget version of "Hustle and Flow," but Drumming aims for a much smarter and subdued look at the various regrets and hang-ups haunting men of a certain age. Their blackness is only one piece of the puzzle.
  17. Berberian Sound Studio constructs a perpetually strange, unseemly series of events overshadowed (and sometimes consumed by) the spooky movie-within-a-movie that hangs over every scene.
    • 55 Metascore
    • 83 Critic Score
    There’s an effortless cool about Marsden's performance that's a perfect mismatch to Black's hysterics, and it brings a reassuring authenticity to some otherwise implausible plot twists.
  18. The result is not a major work, but still a wildly funny portrait that succeeds at inducing the incredulity Morris always seeks out.
  19. Catechism sometimes feels intentionally obscure, much like Rohal's last movie. It's essentially a hilariously brazen lark, which is reason enough to embrace it.
  20. 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.
  21. Prometheus is an unquestionable good time, one of the best big-screen science fiction accomplishments since 'Avatar.'
  22. Slickly made if not particularly stylish, the movie maintains its entertainment value for picking ideal models of American excess.
  23. Gavras never forces the material into allegorical turf; it's a relatively straightforward look at the ramifications of getting blinded by dollar signs, with perhaps one of the most clearly defined visions of economic depravity since "Wall Street."
  24. Douglas Miller's Dinosaur 13 is both awe-inspiring and tragic. Conventionally made but featuring an undeniably compelling story at its core, Miller’s debut benefits greatly from the combination of passion and sadness embedded in its subjects’ tale.
  25. Appropriate Behavior isn’t a narrative about ethnicity or even LGBT struggles in the traditional sense, but rather a means of exploring the problems that result from reinforcing those very barriers. In the process, it introduces a thoroughly modern voice.
    • 60 Metascore
    • 83 Critic Score
    The movie doesn't offer much in the way of substantial character development, but that's not a deterrent when the fun twists keep coming.
  26. The scenes pile up with frenetic intensity; as with Soderbergh's other recent exercises in the suspense genre, no single cutaway goes wasted.
    • 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.
  27. At times a rich, intimate observation of emerging sexuality, the movie also maintains a quiet, observational rhythm that peaks around wintertime when things grow dark for the character and then more or less watches her grow up.

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