indieWIRE's Scores

  • Movies
  • TV
For 991 reviews, this publication has graded:
  • 72% higher than the average critic
  • 2% same as the average critic
  • 26% lower than the average critic
On average, this publication grades 12.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 74
Highest review score: 100 First Cousin Once Removed
Lowest review score: 0 Warcraft
Score distribution:
  1. Negative: 44 out of 991
991 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. Told with the gravitas of a comedy sketch and the edginess of the funny pages, Elvis & Nixon at least has the good sense to appreciate that its namesakes were larger than life, each walled off from the world in their own way.
  3. 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.
  4. 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.
  5. 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.
  6. I Saw the Light doesn't just fail to illuminate Williams' complicated life and his prodigious talent; it can't even capture the dark corners of a man with more than enough to peer into.
    • 47 Metascore
    • 0 Critic Score
    It takes a special talent to turn the romantic lyricism of Zola and turn it into chick-lit.
  7. We used to watch movies and wonder “How did they do that?” The problem with Now You See Me 2 isn’t that we already know the answer, it’s that we’re not even inspired to ask the question.
  8. 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.
  9. Lee Daniels' The Paperboy is a rare case of serious commitment to outright silliness.
  10. Don’t be fooled by the lack of spandex: The Legend of Tarzan turns the Lord of the Apes into just another superhero, the newest movie about fiction’s greatest wild man memorable only for the dull irony of how housebroken it feels.
  11. Despite being rife with crime, sex and darkness, Manhattan Night feels increasingly like a cheap ripoff of the genre it so very much wants to fit into.
    • 44 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.
  12. Perhaps just as disappointing as the haphazard storytelling is the squandering of a top-flight voice ensemble.
  13. It’s hard to understand why Doremus, whose Sundance-winning “Like Crazy” was an effective reminder that emotion can be a narrative unto itself, would regress towards a story in which he renders that idea redundantly literal.
  14. Part of the problem is that films like Marauders have become so synonymous with cut-rate mediocrity that their awfulness is almost a self-fulfilling prophecy.
  15. Pattinson portrays the monotonous Georges Duroy in two equally dry modes: scowls and smirks.
    • 40 Metascore
    • 33 Critic Score
    Equally hobbled by an amateurish script and vaguely defined characters, the movie's long list of mediocrities have an anonymous quality, as though the director has been completely reborn as a hack.
  16. 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 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.
  17. 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.
  18. Special Correspondents is more about smirking sideways than it is laughing out loud, but it doesn't provoke much of either — it's one thing for Gervais to subdue his usual bark, but his bite has never been softer.
  19. The film's narrative is both plodding and predictable, and after the third or fourth battle sequence that leans so heavily on loud, thudding noises and swirling leather topcoats that it's impossible to see who is actually hitting who (and, moreover, why), audiences may be in danger of remembering just which "reimagined" fairy tale they're watching on screen.
  20. As Alice runs from one hollow set piece to another, hitting every standard mark that a colossal movie like this must in order to pay for itself, her adventure grows less and less interesting with every turn. By the end, all that lessness is too much for the muchness to match it. Less is usually more, but when it comes to this franchise, none would be ideal.
    • 32 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.
  21. An immaculate case-study in how far blockbusters have fallen.
  22. This is truly a depressing experience. It’s rare to feel such pity for a major studio movie, but watching Warcraft bend over backwards to set up a sequel is like watching a desperate paramedic apply CPR to someone who’s clearly been dead for hours.
  23. Oliver Thompson's spellbindingly awful Welcome to Happiness isn't much worse than most first features — and, in some respects, it's far more ambitious — but this star-studded mess is the rare film that confronts you with the helplessness of watching someone self-sabotage their own work.
  24. By the time the entire town discovers that Clint is trapped in a weird hole and Lucy has fallen for Chatwin’s Rydell White, No Stranger Than Love picks up some serious steam, balancing its bizarre tone with actual charm. Sadly, however, it’s too late to pull the production out of its own gaping void: The inability to treat its characters with respect.
  25. So profoundly bad that it represents the worst of two entirely different mediums, Ratchet & Clank doesn't blur the line between movies and videogames so much as it flushes them both in a toilet and forces us to watch as they swirl together down the drain.
  26. Although no one comes off looking especially good, an acceptable alternate title for the film could be "The Ugly Americans," because Mitch Glazer's script takes some of the worst stereotypes about ex-pats and blows them sky high.
    • 27 Metascore
    • 0 Critic Score
    As a bad movie, Pixels is extremely dismissible. The ways in which it is bad are hardly fun to pick apart, a la "The Room;" instead, they're just banal — the deeply predictable plot, the unfunny jokes, the constant low-level sexism and occasional spikes of racism that permeate the story.
  27. Saldana delivers her distractingly affected performance with greater conviction than most could muster under these circumstances, but no amount of ferocity can disguise the discrepancy between the 37-year-old actress (33 at the time of filming) and the 62-year-old woman she's playing.
  28. A superhero film with no power and worse special effects that attempts to rewrite a story that's yet to be told effectively.
    • 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.
  29. Wakefield's by-the-numbers approach to didactic storytelling relies on tons of random factoids positioned out of context to drive home his agenda.
  30. The Do-Over is atrocious, but it's atrocious in different ways than any of Adam Sandler's previous comedies.
  31. This is safe, hyper-conventional stuff, lazy enough to make you feel bad that Middleditch had to free willy for it. The best thing you can say about the movie is that men have taken their pants off for less.
  32. Not even Matthew McConaughey can sustain the mushy, amateurish story, which digs itself a deeper hole as it moves along. The established talents of both director and star only serve to magnify the many wrong moves that this stunning misfire takes.
  33. Lifeless, ugly, and vaguely evil in its gross attempt to offer something for everyone, Mother's Day doesn't feel like a movie so much as it does a cinematic adaptation of Walmart.
  34. Even without its mopey, painfully on-the-nose dialogue and ponderous story, The Last Face sets itself up for failure with its premise, and Penn's apparent inability to recognize it as such. It's his worst movie.
  35. As a documentary determined to damn the Democratic Party, “Hillary’s America” is a profound failure of unprecedented proportions, an embarrassment for Republicans, Americans and pretty much the rest of humankind. As a parody of right-wing conspiracy theorists, this knotted spiderweb of ideological garbage is practically “Citizen Kane.”
  36. Undrafted is a baseball movie that never wants you to forget that it’s about baseball, even if that reminder comes with lengthy dugout anecdotes delivered to teammates who are surprisingly indifferent to the outcome of a game that’s supposed to mean so much.

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