indieWIRE's Scores

  • Movies
For 700 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 14.9 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: 15 out of 700
700 movie reviews
  1. Guided by an over-the-top Nazi hunter played by Judd Hirsch (clearly enjoying himself), Cheyenne begins a road trip through Middle American that goes nowhere, and Penn's mopey has-been routine starts to feel like a bad joke that just keeps getting worse.
  2. It's a familiar mold: the perils of suburban discontent have been so thoroughly explored that The Details plays like a hodgepodge of familiar circumstances on an assembly line to disaster.
  3. It's hard to believe that The Devil's Double doesn't intend to be a put-on. Despite a real-life basis of its plot, Lee Tamahori's fierce depiction of hedonistic Saddaam Hussein spawn Uday Hussein relegates the character to a farcical cartoon.
  4. Just as the frequent cutaways from sexual activity tone down the titillation, Lovelace never garners the energy to construct a fully involving melodrama, rarely rising above Lifetime movie standards. Given the material, the irony here is that the filmmakers play it too safe.
    • 50 Metascore
    • 25 Critic Score
    Many of the problems with Closed Circuit stem from a script littered with first-draft exposition...exacerbated by unimaginative staging.
    • 47 Metascore
    • 0 Critic Score
    It takes a special talent to turn the romantic lyricism of Zola and turn it into chick-lit.
  5. If "Extremely Loud" came out in the weeks or months following 9/11, more audiences (and critics) might find an excuse to appreciate the way its soul-searching protagonist works through his grief. Ten years later, his struggle actually feels outrageously old-fashioned.
  6. Lee Daniels' The Paperboy is a rare case of serious commitment to outright silliness.
    • 45 Metascore
    • 25 Critic Score
    For a comedy of such misjudged tones, Rauch is best when she plays up Hope's dramatic tendencies rather than her comedic side.
  7. Pattinson portrays the monotonous Georges Duroy in two equally dry modes: scowls and smirks.
  8. The Ward succeeds mainly as a checklist that keeps it consistent with Carpenter's nearly forty years of work. It has none of the smart genre appeal that put him on the map, instead resembling a desperate knock-off by someone with far less talent. Carpenter either lost his groove or the will to use it.
    • 38 Metascore
    • 16 Critic Score
    Choosing to make a film about such an astonishing, rule-disregarding, inspirational woman and concentrate on her relationships with fellas...is questionable enough as it is – but if Herzog had managed to properly dramatize those relationships, he might have conceivably gotten away with it, rather than ending up with this exercise in syrupy, (sometimes cringe-inducing) banality.
  9. Instead of commenting on the vapidity of the film industry, Paul Schrader's miscast, poorly executed and utterly soulless drama is an example of the failing art form it seeks to indict. Though it has real ideas, Schrader and his team never manage to put them into action.
    • 34 Metascore
    • 25 Critic Score
    It's possible that Every Thing Will Be Fine is understated to a fault, that excavating its deeper meanings is deliberately impeded rather than enabled by its gently casual vibe.
    • 24 Metascore
    • 33 Critic Score
    Gans clings too much to his own style to give freedom to pretty much everything else, most notably acting and pace. Filled with empty line-readings and bland CGI, Beauty and the Beast lacks any semblance of originality.

Top Trailers