indieWIRE's Scores

  • Movies
For 631 reviews, this publication has graded:
  • 78% higher than the average critic
  • 2% same as the average critic
  • 20% lower than the average critic
On average, this publication grades 14.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 76
Highest review score: 100 The Pervert's Guide to Ideology
Lowest review score: 0 In Secret
Score distribution:
  1. Negative: 12 out of 631
631 movie reviews
  1. Given the saturation of the found footage horror genre, Cordero's approach delivers a much shrewder alternative that goes beyond the power of suggestion by rooting its otherworldly fears in authenticity.
  2. Small touches point to a slightly better movie hiding beneath most of the routine, particularly the respectable finale that stops just short of the clichéd resolution expected of it. On the whole, however, The Way, Way Back dances to a tune we've heard too many times before.
  3. By its later scenes, Chef only finds respite from its bland qualities through the scrumptious-looking dishes constantly on display. As self-indulgent vanity projects go, this one's pretty innocuous, if only because it's always easy on the eyes.
  4. The whole experience is one long rant in radiant colors.
  5. The story arrives at a satisfying emotional conclusion with wonderfully thoughtful ramifications.
  6. That the movie succeeds both as a high-stakes crime thriller as well as a far quieter and empathetic study of angry, solitary men proves that Cianfrance has a penchant for bold storytelling and an eye for performances to carry it through.
  7. Nathan never condescends to Pug or his cohorts, instead smartly allowing their brazen maneuvers to run the show.
  8. The director's murky, ill-conceived take on the world's oldest disaster story contains some of the most pristine visuals produced on a mass studio scale in some time. But it's also constantly tethered to a dull, melodramatic series of events out of whack with any traditional interpretation of the material.
  9. Rosewater is lacking in sophistication, but its attitude is infectious.
  10. Although Madsen's survey of warning strategies has an aimless structure prone to repetition, he creates an effective mood that transcends his time-travel gimmick and eventually becomes topical.
  11. 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.
    • 67 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.
  12. Elevate nails the mission, but not the message.
    • 67 Metascore
    • 83 Critic Score
    Rises above the over-tired gross-out comedy genre partly because of its meta celebrities-parodying-themselves trick, but it mostly stands out because it's genuinely funny.
    • 67 Metascore
    • 67 Critic Score
    Whether it's purely through the use of music or through the individual, attentive care given by some of the featured nursing home workers, the proof of positive changes presented in "Alive Inside" provide a sense of idealism amid bleak situations.
  13. The closest Brügger comes to explaining his style is an early statement on the duality of his mission to go "beyond all moral boundaries known to man while still being a respectable member of society." It's a goal enacted less with a coy wink than with a violent elbow jab to the ribs.
  14. Pummeling forward from its first diner-set fight scene to a sweeping final showdown on the beach, Haywire is a literal blast.
  15. Neither surprising or groundbreaking in any particular way, the movie gives us what we want and leaves it at that.
  16. Leave it to Walken to upstage Beethoven.
  17. The absence of suspense results in something closer to a one-sided pat on the back for everyone involved, though it effectively puts forth a whole new set of challenges.
  18. The title suggests a dramatic Shakespearean twist, but Clooney's aims are much simpler. As he builds to a western showdown divorced from political specificity, the Manchurian-like manipulation turns Ides of March into an allegorical monster movie in which everyone's competing for the role of the monster and most people can't see it.
  19. Smart in spite of its irreverence, "Future Folk" is the weirdest, most enjoyable fusion of genres you'll see this year.
  20. Can actors save a mediocre movie? In London River, they come close. Blethyn's frantic, sad naivete creates a fascinating contrast to Kouyaté's understated performance.
  21. The calibration of mature performances and a reasonably credible, if somewhat familiar, scenario make "Eleanor Rigby" a lot more watchable than the strange conceit of the production.
  22. Marred by excessive sentiment, it has a buoyancy and a hook that makes it stand out -- but they're elements that would help it kill on Broadway (as it already has on the Australian stage) a lot better than it does onscreen.
  23. By favoring mood over plot, "Myth" explores what it feels like to transition into youth adulthood and face harsher truths.
  24. Crystal Fairy has little to say beyond Cera's capacity to transform into an amazingly uncomfortable screen presence, something we already knew.
  25. It's incredibly uneventful and devastating all at once.
  26. The highbrow intentions of Barney's Version suffer from a constant pile up of dead ends.
  27. By making the inanimate animate, they make nature come to life, and so does Convento.
  28. Takei is a natural storyteller who lends an enjoyable flow to the movie’s uncomplicated proceedings.
  29. 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.
  30. As the portrait of a relationship meltdown involving two eccentric creative types prone to self-doubt, July's sophomore feature bears a strong resemblance to husband Mike Mills's upcoming "Beginners," although July's version of the story has a more experimental edge.
  31. Kazan has fun with a silly premise and smartly plays it straight when the occasion calls for it, while keeping the cutesy, fantastical extremes of the material at bay. It's less fairy tale than shrewd exaggeration on the pratfalls of desire.
  32. Eventually, Soo-hyun's relentless pursuit-and-release approach outlives the director's skill and the premise starts to feel redundant.
  33. With its palatial setting, Borgman shows how money can buy luxury, but it can't salvage the corruption that comes from within.
    • 66 Metascore
    • 91 Critic Score
    Alan Partridge stays true to this small, very specific world of regional British radio and this class of local celebrity while also injecting the high-level drama needed to carry such a story to a much larger audience. It’s this balance that should win the film over for Alan Partridge fans and the general movie-going public alike.
  34. A less controlled and slapdash character piece than "In Bruge," McDonagh's new movie benefits greatly from a plethora of one-liners that toy with crime movie clichés in the unlikely context of writerly obsessions.
  35. By the standards of Jordan's earlier films, "Byzantium" is unquestionably a minor achievement, but its technical specs help flesh out a thick environment that elevates the proceedings to a lyrical plane.
  36. Coppola presents a smart cross-examination of the impact of media exposure on fickle young minds. While the ambitions of its young thieves often blur together and lack precise definition, The Bling Ring is the director's breeziest work, allowing the story to glide along with the ease of a heist movie.
    • 66 Metascore
    • 67 Critic Score
    Amini's directorial debut is a quiet and graceful achievement that suffers from a number of shortcomings but still works on its own terms.


  37. Well made as it is, Don Jon suffers from a half-baked scenario that never manages to make its characters as intriguing as the problems that afflict its protagonist. It's a movie that shows better than it tells, even as it leaves much up to the imagination.
  38. It's an unflinching update to media scholar Neil Postman's prophetic claim about the deadly impact of television on cultural identity: Smartphones in hand, we face the danger of filming ourselves to death.
  39. 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.
  40. The Snowtown Murders manages to become a compelling exercise that excels at making horrible acts look shockingly listless.
  41. The result is an uneven drama with genuine intellectual heft that often outshines its flaws.
  42. The Butler carries an authenticity that sustains it through its cloying stretches.
  43. It's impossible to look away -- not only because the sense of anticipation is so vivid, but because there's no other way to follow the bizarre plot than keep with it.
  44. The filmmakers have crafted seriously derivative fun that plays like "Scream" molded with "Cabin Fever" in the twisted universe of "Final Destination." It's a familiar ride, but a relentlessly wild one as well.
  45. The Love We Make provides sufficient behind-the-scenes nuggets for diehard fans of McCartney and Maysles alike.
  46. In a incredibly contained performance that ranks among the best of her career, Juliette Binoche portrays a woman trapped by mental and physical constraints alike.
  47. The reason to care about Life, Above All doesn't stem from its bleeding-heart plot...The reason to care is newcomer Khomotso Manyaka, who nimbly shoulders a role that places her front and center in nearly every scene.
  48. 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.
  49. It's a period piece composed of familiar pieces, none of which have much to say beyond surface elements that have been explored countless times before. Using a typical coming-of-age mold, Chase turns cultural ephemera into formula.
    • 65 Metascore
    • 83 Critic Score
    Drawing from the wellspring of her own life, Forbes' agile tone allows the film to indulge in heartbreak and humor with equal measure.
  50. It's almost enough to make you wish that Kokidas and co-writer Austin Bunn had fictionalized the story. But then again, a beardless Ginsberg isn't really Ginsberg at all, which gives Radcliffe all the room to play around with the character that he needs. It might be best spell yet.
  51. For anyone frustrated with countless formulaic exercises that drain modern horror of fresh ideas, Tucker & Dale is a downright cathartic indictment that encourages comparison to the "Scary Movie" franchise. It's mostly a smart spoof that looks awfully dumb for a reason.
  52. The material, however, takes a Raymond Carver short story and plays it almost too straight. Ferrell looks uncomfortable, but not amusingly so.
  53. While Francine distinguishes itself with atmospheric strangeness, Cassidy and Shatzky never create a satisfying whole.
    • 65 Metascore
    • 75 Critic Score
    Ultimately, Saving Mr Banks is witty, well-crafted and well-performed mainstream entertainment which, perhaps unavoidably, cleaves to a well-worn Disney template stating that all problems - however psychologically deep-rooted - can be overcome.
  54. Monsters University, the latest Pixar offering, charms in an excessively familiar way that illustrates a troublesome eventuality: Pixar has lost its edge.
  55. 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.
  56. While frequently very funny and sustained by a pair of boldly unlikable female protagonists, Fort Tilden adopts the glorious stupidity of its stars, and echoes their gratingly obnoxious temperaments.
  57. Prometheus is an unquestionable good time, one of the best big-screen science fiction accomplishments since 'Avatar.'
  58. The resulting adrenaline-packed vehicle delivers a multi-directional sugar rush. It moves so quickly that the bells and whistles blur together.
  59. This could be a recipe for excessive self-indulgence, but the meta quality of Red Flag is entirely irrelevant to its low key charm and persistent irreverence -- anchored, as always, by Karpovsky's loopy screen presence.
  60. Representing lower-class violence taken to an extreme, the cannibalism cannot be contained by police work. The movie's gradual build to a thrilling, appropriately bloody climax intensifies this disconnect.
  61. Bier has done far more compelling work before, but the globe-spanning, life-affirming, morally upright trajectory of her latest accomplishment weakens its quality while sustaining its popularity. In a Better World is heavy, but it's also heavy-handed.
  62. One development gets short-shifted: the onslaught of studios drowning out what made the Con so attractive in the first place.
  63. Estevez treats the drama with a straight-faced, utterly earnest approach with dual respect for the material and the audience's awareness of how it can go wrong. By playing it straight, The Way never goes off the deep end.
  64. Like its tattered setting, The Rover is scattered with intriguing ideas never successfully fleshed out.
  65. Too in love with itself to ever totally go off the rails, Pacific Rim doesn't qualify as the first full-on dud of del Toro's career, but it's hard not to get the sense that something's missing.
  66. Weisz flirts with greatness but unfortunately misses the opportunity to make the material soar. And yet he comes close.
  67. West, who demonstrated a penchant for extensive build-ups in "The House of the Devil" and "Trigger Man," continually makes it unclear if the inn actually harbors a ghost or if his heroine (Sara Paxton) has simply imagines it. Both she and her hilariously frazzled co-worker (Pat Healy of "Great World of Sound") want to believe in supernatural affairs for the thrill factor alone.
    • 64 Metascore
    • 91 Critic Score
    This documentary is not a dry, academic history of youth culture, but rather a vibrant political statement that shows the powerful force of teenagers and their ability to foment social, cultural, and political change.
  68. Savagely assaulting the desperate state of a blue collar family man, the comedic thriller Cheap Thrills establishes a ridiculous premise early on and takes it to various extremes, again and again, until you just have to accept the crazy venture on its own terms or simply give up.
  69. Imagine "Harold and Maude" directed by Eric Rohmer with shades of film noir and doused in philosophical chatter enhanced by ample white wine. But Domain isn't pure formula, because the subversion of expectations is its centerpiece.
  70. It's fascinating to watch Murray act circles around his existing appeal and play into it at the same time. Melfi's likable but utterly formulaic movie never rises to a similar level of ambition, which in this case actually works in its favor. It gives Murray room to play.
  71. The movie isn't political so much as philosophical, trashing the notion of the American dream as anything more than fodder for an endless rat race.
  72. Writer-director David Ayer’s brash, assaultive Brad Pitt drama manages some evocative imagery and achieves visceral impact by enacting a hellacious atmosphere that never lets up — but Ayer takes the mission too literally, and winds up literally lost in the fog of war.
  73. 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.
  74. Set in a barren juvenile detention center, the movie works as a grueling coming-of-age story, linking it to the likes of "4 Months, 3 Weeks and 2 Days," even if it lacks the same lasting appeal.
    • 64 Metascore
    • 83 Critic Score
    Nymphomaniac is indeed a major work that tries and, to a large extent, succeeds to organically synthesize the world, ideas and filmmaking savvy of von Trier in one sprawling and ambitious cinematic fable. Somewhat shockingly given the subject matter, the most stimulating material in Nymphomaniac isn't the explicit sex but how sexuality is discussed and understood.
    • 64 Metascore
    • 83 Critic Score
    Myers brings energy to his first film the way he brought it to his early comedy – a little too much.
    • 64 Metascore
    • 91 Critic Score
    Even after a superbly made two-hour-long documentary, Kuti keeps many of his secrets to himself.
  75. Film Socialism is a weighty, intentionally cryptic product that's easy on the eyes and heavy on the mind.
  76. The first-time director's refreshingly credible portrait of a boho character with Middle Eastern origins rectifies the aforementioned canonical gap in a witty, naturalistic generational snapshot.
  77. Just strange enough to get inside your head, it's ultimately less committed to the meaning behind its events than the lucid means by which they take place.
  78. 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.
  79. 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.
    • 63 Metascore
    • 83 Critic Score
    Even if the film doesn't leave much to ponder past the closing credits, it's enjoyable while it's unfolding, doing justice to the strengths of Shelton's ever-expanding filmography.
  80. Dickinson's hauntingly naturalistic look at disgruntled young adults trapped in the country following an urban disaster plays like "Martha Marcy May Marlene" transported to a post-apocalyptic survival narrative -- with lots of yoga and sex.
  81. Hooper's approach comes across as the equivalent of sitting in the front row of a stage play while the entire cast leans forward and blares each song into your eardrums.
  82. With a dense, often impermeable style and a mentally unstable protagonist, Simon Killer is like watching the disturbed anti-hero of "Afterschool" all grown up.
  83. While both pieces of the entire package generally work independently of each other, they have just enough ingredients to necessitate a viewing of the whole thing.
  84. A wholly original and thoroughly surprising fusion of sensory overload and liberal philosophy bound to confuse and provoke in equal measures.
  85. The problem with Outside Satan is that the filmmaker has remained faithful to expectations without enlivening them. It's a curious exercise unworthy of his expertise, but then he may realize as much.
  86. Atmospherically, Spring Breakers is an elegant evocation of noir storytelling, littered with misdeeds with girls and guns at every turn.
  87. World War Z may wear its intellect proudly, but also consciously translates the zombie premise into a safer context for wider audiences. It's not the smartest zombie movie ever made, but might be the most commercial one.
  88. A slow burn thriller taken to the extreme, Cristi Puiu's Aurora continues the Romanian writer-director's obsession with time as his main narrative device.

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