indieWIRE's Scores

  • Movies
  • TV
For 748 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 14.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 76
Highest review score: 100 The Soft Skin (1969)
Lowest review score: 0 In Secret
Score distribution:
  1. Negative: 17 out of 748
748 movie reviews
  1. Teller's rough, uncomplicated filmmaking style does little to elaborate on Jenison's story, as the subject's unending curiosity singlehandedly carries each scene.
  2. The reality-show aesthetic pervades the movie as well. Garrone's roaming camera style draws you into each moment with extreme close-ups and long takes that wander through each scene and get lost in it. Luciano's plight is crushing because Garrone renders it with such detail.
  3. Suspense is rarely delivered with such distinctive patience.
  4. Though the special effects win the day, Guardians of the Galaxy holds court with a sense of humor that transcends its more familiar ingredients.
  5. In the movie's final shot, Jung's confidence crumbles and he looks supremely troubled, still uncertain of a world he once believed could be explained with textual prowess. Better than any analysis, his expression sums up the dangerous method at the heart of every Cronenberg movie.
  6. 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.
  7. 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.
  8. Is the Man Who Is Tall Happy? bears the stamp of Gondry quirk but allows it to feel a lot more intimate than anything he's done since "Eternal Sunshine."
  9. Though more in love with its silliness than the insights buried inside them, Frank works to amusingly irreverent effect when combining the two.
  10. While overlong and occasionally too reliant on a formulaic set of motives to drive the action forward, Easy Money retains its suave composure right through the engrossing finale.
    • 75 Metascore
    • 75 Critic Score
    Away from the confessions that induce shock and the divulgences that elicit sympathy, Garbus leaves ample space for lengthy sequences of Simone's performances.
  11. Despite the ongoing momentum, Sleepless Night never loses touch with its story.
  12. Edited in a frenzied mashup of concert fragments and off-stage exchanges, The Punk Singer generally overcomes its rough production values by realizing the energy of Hanna's achievements in terms of her passion and physical prowess.
    • 75 Metascore
    • 58 Critic Score
    While The Trip to Italy offers all the pleasures of a posh holiday accompanied by two of the most inventive comedians today, the improvisation here lacks the total unexpectedness that the first enjoyed.
  13. 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?
  14. Though suffering from dry patches and a fairly mannered approach, The Invisible Woman eventually makes its way to a powerful final third documenting an ultimately tragic romance in deeply felt terms.
  15. While there's a casual dissonance to each twist in its winding plot that results in a disconnected and emotionally vapid experience, Detective Dee unquestionably achieves the escapism it intends.
  16. With its luscious 35mm photography and playful depiction of passionate lovers reaching a breaking point, the swift 72-minute drama delivers a satisfying riff on moody, intimate material Garrel has mined to richer effect many times before.
  17. In constructing its gripping overview, After Tiller maintains a generally straightforward roundup of talking heads, but its unassuming construction gradually generates an authoritative voice. Only once the arguments have been plainly established does the emotion truly take hold.
  18. No stranger to crafting excessive anticipation, Reichardt has funneled that skill into thriller clothing. However, like all of her output, nothing is as simple as it looks.
  19. There's no question about the efficacy of Scorsese's filmmaking prowess, only that he never knows -- or doesn't care -- to slow down and deepen the material.
  20. 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.
  21. The scenes pile up with frenetic intensity; as with Soderbergh's other recent exercises in the suspense genre, no single cutaway goes wasted.
  22. Before its spell unravels with overdone theatricality and on-the-nose flashbacks, Caterpillar succeeds as a kind of representational horror movie.
  23. An impressive feat that relies on distraction rather than fancy effects, it's easy to get swept up and forget that it's a very sweaty retread that's been done many times before.
    • 75 Metascore
    • 67 Critic Score
    Brooklyn showcases a number of appealing ingredients, but ultimately lacks an adequate story to prop them up.
  24. Omar maintains an unsettling rhythm of suspense and sociopolitical critique throughout.
  25. Judging by Johnson's previous feature, "True Adolescence," he's better at crafting characters with credible problems than finding equally credible ways of exploring them. Fortunately, in the case of Skeleton Twins, the actors do the legwork.
  26. The filmmaker's first-rate access feels like a kind of desecration.
  27. The result is not a major work, but still a wildly funny portrait that succeeds at inducing the incredulity Morris always seeks out.
  28. Burton's id explodes onto the screen with a plethora of demonic mutated critters.
  29. The beautiful desolation of Bombay Beach makes it difficult to describe as a documentary. Alma Har'el's directorial debut takes a nonfiction setting and displays its haunting qualities in poetic terms.
  30. Despite the mixture of vérité footage and home movies showing the Angulos in their apartment, The Wolfpack feels more in line with a form of ethnographic storytelling than anything else, because the story is told exclusively in terms of their relationship to it.
  31. Computer Chess excels at conveying the frustrations of feeling trapped by forces beyond one's control, the complexities of humanity irresolvable by any neat code.
  32. Cheatin' is gleefully enjoyable and loaded with unexpected twists at every turn.
  33. Suleiman's most poignant moments are largely wordless. Nothing feels more affecting than Suleiman's ubiquitous frozen stare. Although he never utters a sound, his silence speaks volumes about the inability to resolve the social ramifications of Middle Eastern strife.
  34. An earnest, sometimes bland and unsophisticated look at Corinne's undulating relationship to spirituality in general and Christian dogma in particular. But it's also a surprisingly well-made character study outside of its specific theme.
  35. Over time, Holland's approach pushes beyond despair and turns into a pure exercise in grim atmosphere, shifting from a story of staying alive to a closeup of a private hell.
  36. Brainy and exciting at the same time, Interstellar invalidates the need for mindless Hollywood product. No matter its shortcomings, the movie achieves an impressive balancing act. It turns the mysteries of the universe into a cinematic playground, but for every profound or visually arresting moment, it also encourages you to to think.
    • 74 Metascore
    • 100 Critic Score
    Poignant without being melodramatic, overflowing with unforced charm, Me and Earl and the Dying Girl holds a unique appeal that's certain to last.
  37. The conflict in The Attack is less about the reasoning behind immoral behavior than the problems involved in any cursory understanding of it.
    • 74 Metascore
    • 50 Critic Score
    The movie casts a wide net, but doesn't explore its themes long enough to make any substantial points. Despite its authentic setting, Ten Thousand Saints never gets around to providing a gratifying story to accompany it.
  38. 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.
  39. Before all else, Villneuve's grim chronicle of the fallout when two young girls vanish in a small town succeeds at crafting one powerfully suspenseful moment after another.
    • 74 Metascore
    • 91 Critic Score
    Although Berlinger’s latest work is a dense, unsparing look at the offenses and trial of Whitey Bulger, it's equally concerned with capturing how the many members of Bulger's expansive web -- criminals and innocent citizens alike -- use their experiences to control their version of the man.
  40. Showcases Jones' ability to provide ample entertainment value with sharply drawn characters in a minimalist setting.
  41. Joe
    If Joe marks a new beginning for some of its characters, the same description applies to its director and star.
  42. The story retains an inscrutable tone that sometimes makes its emotional qualities feel remote, but it still delivers a powerful message about the challenge of self-diagnosis by rooting it in universal experience
  43. While its main characters are tough-minded, Rust and Bone is itself pure heart.
  44. The story works wonderfully as an idea, but Kore-eda never quite manages to infuse it with the same depth of feeling his main character goes through.
  45. 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.
  46. The movie contains an epic scope that feels out of sync with the smallness of its plot; you get the idea by the first act and then Laurence's world simply hangs there for another two hours like a slo-mo shrug.
  47. A Most Wanted Man allows Hoffman to go out with not only one of his best performances, but one that epitomizes his strengths.
    • 73 Metascore
    • 67 Critic Score
    It's a reserved, almost conservative performance, and in holding so much back so much of the time, Cumberbatch makes his few outward displays of emotion far more impactful.
  48. While Johnsen competently follows Ai over the course of more than a year of contemplation and anger, "The Fake Case" doesn't introduce anything new to the equation, and mainly succeeds by virtue of its subject's inherent appeal.
    • 73 Metascore
    • 50 Critic Score
    Part road-film, part-gambling excursion, and part-bromance, the film does show the influence of its talented directors. But falters when it comes down the story itself.
  49. American action movies are almost entirely defined by cutaways, blaring music cues and grunts. The Raid: Redemption, a hyper-energetic Indonesian martial arts movie, delivers an effective rebuke to that meek norm. Bones break, blood flows and swift, excessively complicated fight choreography puts virtually everything released in North America since "The Bourne Ultimatum" to instant shame.
  50. It suffers from the greater problem of emphasizing a feel-good plot within the context of mass destruction.
  51. The first half of I'm Glad My Mother's Alive effectively inhabits a child's mind in a manner that recalls Maurice Pialat's marvelous 1968 debut "The Naked Childhood."
  52. The Forgiveness of Blood examines the barriers of ritual and the passage from youth to adulthood in Albanian society with the perceptive detail of a grand literary feat. At the same time, it retains the simplicity of a parable.
  53. The opposing genre extremes never entirely come together.
  54. Intermittently action-packed and lethargic, the movie dances around formula. By delivering an expressionistic character study with bursts of intensity unlike anything else in his oeuvre and yet stylistically representative of its entirety, Wong practically has it both ways.
  55. Only the band's continuing popularity makes his journey stand out. Like its director-star, Mistaken For Strangers struggles admirably but can only go so far before letting the established talent win out.
  56. There and gone with the fleeting nature of its youngest character's attention span, Little Feet ultimately feels more like an insightful sketch than a full-fledged movie, but it nonetheless leaves a major impression.
  57. 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.
  58. While Entertainment lacks the focused critique of "The Comedy," it nevertheless offers a fascinating look at the tension between personal aspirations and the harsh realities holding them back.
  59. 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.
  60. Though hardly a singular achievement on par with its precedents in the filmmaker's career, Results shows the first indication of Bujalski's ability to tell stories on a larger scale.
    • 73 Metascore
    • 58 Critic Score
    Slow West certainly makes a valiant effort to reach beyond expectations of its genre, even leaving room for some welcome tongue-in-cheek humor when it's least expected. But at the end, all its waffling between various stylistic touchstones fails to hold much interest.
  61. With its persistent inventiveness and a lack of unearned sentimentality, the movie provides an antidote to a lot of lazily produced dramas about death, American or otherwise.
    • 73 Metascore
    • 67 Critic Score
    The Taiwan Oyster manages to be consistently engaging despite its flaws.
    • 72 Metascore
    • 75 Critic Score
    Propulsive battle sequences in which sandstorms make the fog of war quite literal are the ostensible focus of American Sniper, but the real tension comes from our anticipation of how they'll affect the life this sharpshooter is reluctant to return to until he feels he's done everything he possibly can.
  62. Magic Mike casts a seriously entertaining spell.
  63. At its core, A Screaming Man emphasizes the strength of family bonds. It's a sad, moving portrait that has nothing to do with its chaotic setting.
  64. If you've never heard of LCD Soundsystem or cared much for the group's work, Shut Up and Play the Hits still manages to explore the prospects of fame and contemporary rock music's lasting relevance.
    • 72 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.
    • 72 Metascore
    • 100 Critic Score
    “The Fast and the Furious” with wheelbarrows, Paraguayan action-thriller-romance hybrid 7 Boxes is a rollicking good time at the movies that offers breathtaking action and suspense, humor and appealing characters all in one visually flashy package.
  65. Exhibition infuses its cerebral exposition with a strong dose of humanity.
  66. Unlike the polished universe of Pixar's "Brave" or countless other recent CGI efforts, ParaNorman maintains a delicate, handcrafted look that underscores its ideas.
  67. Never indulging in outright scare tactics or loose improvisation, the movie primarily works like an awkward narrative that plays with perspective.
  68. Kim's movies are generally grim, disturbing affairs, but "Pieta" leaves much to the imagination in favor of its unsettling implications.
  69. Despite its meandering plot, Bellflower presents its doom-laden vision as an astonishingly distinctive state of mind, arguing that the end of one self-made world always marks the start of a new one.
  70. Creepy implications keep Super 8 engaging, but the cast makes it click.
  71. Beneath the pixelated gags, the stakes are relatively familiar. However, much of the humor in Wreck-It Ralph riffs on the nostalgia associated with real games.
  72. Post Mortem portrays the specter of dictatorship through the lens of one man's private hell.
  73. Duplass' feisty energy is matched by DeWitt's constant smarminess, while Blunt's shy, fragile behavior balances off the forceful personalities surrounding her.
  74. Stillness dominates, from the first shots of cornfields at sunrise to the final one that finds Helmer lying among them. When "It's All So Quiet" comes full circle, the title is virtually an understatement.
  75. No matter how much The Theory of Everything showcases the incredible process through which Hawking maintains a connection to the rest of the world, it falls short of burrowing inside his head.
    • 72 Metascore
    • 75 Critic Score
    Knappenberger has delivered a film brimming with outrage, whose zeal becomes persuasive once Swartz takes on his activist mantle.
    • 72 Metascore
    • 75 Critic Score
    While Wigon's film lacks emotional weight, that deficiency is not a matter of style over substance, but an effective comment on the peculiarly isolating nature of modern communication technology.
  76. Jacobs, working from a script by Patrick de Witt, takes a conventional coming-of-age story and does it proud, enlivening the plot with an almost experimental portrait of alienation and despair.
  77. Barker's screenplay demonstrates a conviction that its genre can command great importance, allowing it to transcend the easy shocks associated with the exploitation movie experience and create an entirely fresh rhythm.
  78. Like a gesture from the rapper acknowledging his crowd, "Time Is Illmatic" is competent bait for Nas fans that leaves the door open just wide enough for newcomers to appreciate the fuss from afar.
    • 72 Metascore
    • 67 Critic Score
    Dope provokes a discussion about the dichotomy between societal expectations of the race-defined self, as well as the democratic American right to be who you want to be — but it's an unfocused and tangential one, limited by the trappings of comedy and the flash of the hip-hop aesthetic.
  79. At its core, The Double Hour is a classic noir story of deception.
    • 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.
  80. Winstead's performance provides a trenchant wakeup call even when the movie can't keep pace.
    • 71 Metascore
    • 100 Critic Score
    If The Raid: Redemption was a thrashing drum solo, its sequel is the opulent symphony where every instrument is played with fevered inspiration.
  81. Despite its predictably cheery vibe, Being Elmo implies a certain darkness lingering beneath the surface of Clash's life.
  82. Unlike recent activist documentaries about animal cruelty like "The Cove," Leeman's narrative doesn't feature any real villains. Balding's bond with Flora leaves him in a perpetual state of uncertainty about which possible new home for his elephant would provide the safest habitat.

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