indieWIRE's Scores

  • Movies
For 535 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 15.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 77
Highest review score: 100 Zero Dark Thirty
Lowest review score: 0 In Secret
Score distribution:
  1. Negative: 12 out of 535
535 movie reviews
  1. Like the original, the most shocking aspect comes from the revelation that Six can actually tell a story.
  2. Elevate nails the mission, but not the message.
  3. Of course, it might take time for Jim Loach to catch up with his father's track record; Oranges & Sunshine is a good place to start.
  4. Although not exemplary, Janie Jones at least manages to give its tired scenario a sense of legitimacy.
  5. Dennis Farina's washed-up hustler in The Last Rites of Joe May is designed in the in the mold of a classic movie star tough guy, but the veteran character actor's performance also serves to disassemble it.
  6. Padilha channeled national frustrations into zeitgeist entertainment. The follow-up, Elite Squad: The Enemy Within, has less success than the first installment in achieving that aim, but still keeps the snazzy combination of spectacle and polemics in check.
  7. On the one hand, Outrage suffers from a cold removal from the events portrayed onscreen, mainly a series of arguments and gory acts of retribution. It's often a terrible bore. But the stylish execution renders many moments into imminently watchable pastiche.
  8. With self destruction as destiny, Reitman has made the equivalent of a Roland Emmerich disaster movie writ small, an apocalyptic scenario internalized by a single person.
  9. With the exception of a few candid moments featuring James at home, Knuckle isn't particularly well-made, but there's an inherently fascinating quality to the material.
  10. It's no less of an accomplished performance than Hilary Swank's similar turn in "Boys Don't Cry" or newcomer Zoé Herán's delicate achievement as the lead in "Tomboy." Unfortunately, Albert Nobbs traps Close's sizable talent in a simplistic drama--not unlike Nobbs herself who winds up trapped in a restrictive period.
  11. One development gets short-shifted: the onslaught of studios drowning out what made the Con so attractive in the first place.
  12. Keyhole never comes together, but that's part of Maddin's creed. He makes movies about movies to express his love for movies, which is to say he makes movies about himself.
  13. Viewed as a single experience, Oki's Movie is a curious oddity worthy of multiple viewings and lengthy contemplation, but its tricky formalism makes it less overtly satisfying on an emotional level.
  14. A spectacular noir epic that's equal parts murky, bloated, flashy and triumphantly cinematic. Four years after Nolan's "Batman Begins" sequel "The Dark Knight" rattled audiences with a similar audiovisual overload, the new movie falls into the same rhythm and remains viscerally satisfying even when the story falters.
  15. With its lethargic pace, Hara Kiri may disappoint more often than it delights, but the payoff is extreme in more ways than one.
  16. Any bona fide sushi fan stands to benefit from the general wake up call that "The Global Catch" provides in ample doses.
  17. Even when it stumbles, however, 2 Days in New York retains an airy vibe, reflecting its dogged intention to charm its viewers. But seeing as "2 Days in Paris" never felt especially irksome, this affable sequel deserves the same insouciant shrug.
  18. Beloved never really earns its sprawling timeline, eventually getting bogged down with too many developments and overstaying its welcome. For a movie where people intermittently burst into song, the plot is oddly one-note.
  19. It's a movie that must be seen, processed and discussed, perhaps the first of its kind to transform the audience into a focus group.
  20. Since 2005's "A History of Violence," Cronenberg has ventured beyond the grotesque allegorical interests of his earlier movies, a shift that has led some longtime fans to assume he has softened up. As an enjoyably peculiar anti-capitalist indictment, Cosmopolis proves otherwise.
  21. The whole experience is one long rant in radiant colors.
  22. There's a adrenaline rush even in the problematic finish, an eagerness that drives the filmmaking so that Looper is thrilling to watch even when it falls apart.
  23. Fitfully uneven, Dredd is nevertheless an intriguing consolidation of action-movie excess -- and even makes a solid case for its aesthetic appreciation.
  24. The movie makes up for uneven dialogue and pacing issues through sheer horrific imagery.
  25. Winstead's performance provides a trenchant wakeup call even when the movie can't keep pace.
  26. The Bay manages to scare up a real fear of environmental neglect. It's quite possibly the first example of jump scares used in service of activism.
  27. At two and a half hours, Lincoln contains only a single battle scene in its opening seconds. The rest is pure talk, a keen dramatization of Doris Kearns Goodwin's tome "Team of Rivals," that delivers an overview of Lincoln's crowning achievement in chunks of strategy talk.
  28. Hitchcock largely succeeds at pulling back the veil on his off-camera personality. To a larger degree, it reveals the level of influence of his devoted wife and screenwriter Alma (Helen Mirren) on both his personal life and career.
  29. Even as California Solo plays like a track we've heard before, it's still worth a listen.
  30. If you're willing to just go with it, An Unexpected Journey is a competent ride, but as a whole it lacks purpose, giving the impression of a television program in its later seasons still chugging along while full aware that it has peaked. Needless to say, "Hobbit" fans will find plenty to soak in; others may get the feeling of being bludgeoned by deja vu.

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