Indiewire's Scores

  • Movies
  • TV
For 1,265 reviews, this publication has graded:
  • 67% higher than the average critic
  • 3% same as the average critic
  • 30% lower than the average critic
On average, this publication grades 10.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 72
Highest review score: 100 V/H/S
Lowest review score: 0 Pixels
Score distribution:
1265 movie reviews
  1. There are sequences and stand-alone shots that will stick with you long after you’ve washed the insipid narration from memory.
  2. 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.
  3. Sing is the Platonic ideal of an Illumination movie. It’s a profoundly soulless piece of work that shines a light on the mediocrity they foist upon the children of the world.
  4. 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.
  5. 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.
  6. Woefully inauthentic, milquetoast as a mild breeze and far too tidy for any of its sweeping resolutions to have even the faintest hint of staying power, The Hollars takes 88 minutes to inspire the same warm and fuzzy feeling that a Hallmark card can deliver in a heartbeat.
  7. 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.
  8. 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.
  9. No matter how basic Hawkins’ book might be in comparison to some of the ones that came before it, it’s hard to argue that it didn’t deserve better than this, that any story so smartly attuned to the need for women to hear themselves and each other should be reduced to such flavorless swill.
  10. The film mistakes stiff, literally buttoned up acting — you’ve never seen so many starched and fully done up dress shirts in one film in your entire life — as somehow being clever, but there’s scarcely a moment of Morgan that is genuinely shocking (though the undercurrents with Amy are at least unnerving).
  11. 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.
  12. It’s every cheap, fast, loose, pointless joke in the book, and barely any of them can clear a solid laugh.
    • 47 Metascore
    • 0 Critic Score
    It takes a special talent to turn the romantic lyricism of Zola and turn it into chick-lit.
  13. 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.
  14. 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.
  15. Lee Daniels' The Paperboy is a rare case of serious commitment to outright silliness.
  16. 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.
  17. 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.
  18. What is the meaning of life? Are we here for a reason? Is there a point to any of this? We may never know, but knowing this movie exists may bring some viewers one step closer to giving up on the whole damn thing.
  19. Perhaps just as disappointing as the haphazard storytelling is the squandering of a top-flight voice ensemble.
  20. 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.
  21. Like any office Christmas party you’ve ever been forced to attend, it kind of feels a little bit too much like work to be fun, and — like any office Christmas party you’ve ever been forced to attend — it’s just a tiny bit too diverting for you to storm out before the whole thing crawls to its sad conclusion.
  22. 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.
  23. Even in the weak signal that is the January movie season, xXx: The Return of Xander Cage hardly registers.
  24. A bad movie by any culture’s standards, The Great Wall mostly goes to show that if the future of the business lies with Hollywood -China alliances, it doesn’t bode well for either side.
  25. Pattinson portrays the monotonous Georges Duroy in two equally dry modes: scowls and smirks.
  26. The Most Hated Woman in America makes it abundantly clear that Madalyn Murray O’Hair was a riveting human being whose story is worth telling in our messed up times, but the film never has the slightest idea of what that story might be about.
  27. The scenes where Creech and co are outracing the Terravex death squads are playful and inventive enough to provide a glimpse of what this movie could have been if it weren’t so remarkably bad in most other respects.

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