IndieWire's Scores

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For 1,806 reviews, this publication has graded:
  • 65% higher than the average critic
  • 3% same as the average critic
  • 32% lower than the average critic
On average, this publication grades 8 points higher than other critics. (0-100 point scale)
Average Movie review score: 71
Highest review score: 100 The Misandrists
Lowest review score: 0 In Secret
Score distribution:
1806 movie reviews
    • 62 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.
  1. On Chesil Beach offers up so many tricky tonal changes, enough that Cooke eventually gives them over to a single note: limp.
  2. For every moment of sick visceral genius (e.g. whenever Hernandez or Evoli are left to their own devices), there’s another of clumsy metaphor (e.g. the limp punchline of the movie’s final minutes).
  3. Gigi is an invaluable role model to young trans people in her ferocious courage and undeniable fabulousness, but the film is little more than a celebration of that.
  4. August 32nd on Earth takes way too long to get going, but the chemistry between its leads helps things along. More than anything, however, it’s the incredible economy of Villeneuve’s images that keeps things together, his shots becoming tighter and more expressive as the story falls apart.
    • IndieWire
  5. While not without its touching moments, "Mister and Pete" is inevitably defeated by its own good intentions.
    • 61 Metascore
    • 42 Critic Score
    It's a shame that Guggenheim's slickly produced documentary examines such an important and fascinating story with such underwhelming results.
  6. The story ultimately frays apart by tugging at its flimsiest threads, but Onah hits on too many things with too much force for his debut to be dismissed as a result.
  7. A well-intentioned but wearisome jolt of prefab holiday cheer.
  8. Repetition grinds Lizzie to a halt, and the film lacks anything resembling energy, cycling through the same beats until something happens only because it has to.
  9. While the new Ghostbusters successfully empowers female movie stars, that’s not the movie’s selling point. However, it’s the only justification for its existence.
  10. Hiding behind a shaggy beard and a stoner grin, Paul Rudd plays an amusingly oblivious shlub in Our Idiot Brother, but the movie can't keep up with his comic inspiration.
  11. Even as it celebrates the spirit of committed journalism that rises above the powerful forces designed to contain it, Kill the Messenger displays the same anesthetized quality that Webb's dedication to his job was meant to counteract. Renner is a different story.
    • 60 Metascore
    • 42 Critic Score
    The movie is not without some small pleasures...but neither character is developed beyond broad characteristics, in spite of them occupying 95% of the film's taxing two-hour running time.
  12. Trumbo works well enough as a general survey of Trumbo's life and career, a primer on a complicated man who endured a terrible injustice, but it fails to really engage with the material, to dig deep for significant themes and salient meanings
    • 60 Metascore
    • 58 Critic Score
    Can Anna Kendrick save the movie musical with The Last Five Years? The answer is no — and yes.
  13. Allied can never settle on a consistent tone, bumping along from smooth spy adventure to stylized war picture to treatise on marriage, all peppered with stilted attempts at humor for an added dash of incomprehensibility.
  14. Once more for the people in the back, treating anyone’s identity like a costume is offensive and dangerous to an already-marginalized group. If the filmmakers wanted the movie to have a real impact, they should have cast a transgender actress. Instead, Anything is just a yellow lily-livered mess.
  15. While Mantzoukas and Revolori charm – consider them your new, unexpected go-to buddy comedy duo – The Long Dumb Road soon runs out of gas, chugging through a series of increasingly unbelievable contrivances.
  16. Evans and Grace are exceedingly appealing together, and their charming chemistry keeps the film afloat even when it doesn’t seem to know which direction to move in.
  17. Lone Survivor is a grotesque action movie at times impressively directed by Peter Berg that combines the brute masculinity with the ugliness of the battlefield and viscerally unsettling shock value. But it's less a depiction of courage than a brutish magnification of anger and pain, both of which it conveys a lot better than the high ground that it reaches for.
  18. Despite the film’s gripping final chapter, its heroic Czechoslovakian characters are completely disconnected from the rest of the country, much like their struggle has been omitted from the cinematic legacy of the war they helped to win.
    • 59 Metascore
    • 58 Critic Score
    It's not a terrible film, and succeeds in giving us a play by play of an alleged dynamic between two individuals, but as a whole feels like a missed opportunity.
  19. Page and Wood navigate this difficult, often half-formed material with great tenderness and surgical precision — together, through thick and thin, they convey a feeling of great personal growth, revealing new wrinkles to their roles long after Rozema’s camera has stopped looking for them.
  20. Sarah's need to save her brother provides the initial raison d'être, but with the mystery is resolved early on Sarah's Key turns into a flimsy meditation on grief.
  21. Though salvaged in parts by Lindon’s impassioned performance and a few perceptive asides that hint at a better version of the events, At War is mostly a redundant portrait of working-class struggles that does more to belittle the efforts of its subjects than position them in galvanizing terms.
  22. Go For Sisters, like the filmmaker's previous features "Amigo" and "Honeydripper," sustains a feeble premise with richly defined characters and strong performances, yielding an underwhelming but nonetheless sustainable viewing experience.
    • 59 Metascore
    • 50 Critic Score
    Once again excelling, Zellweger has much to do with the safe transition of this new Bridget, maintaining all the old quirks and sweetness, but in a believably more mature shell.
    • 59 Metascore
    • 58 Critic Score
    Trevorrow, like so many directors given the responsibility of delivering a straightforward blockbuster designed to satisfy bottom-line expectations, struggles to find the balance between silly and serious.
  23. Voyeur is framed as the story of one observer trying to clarify another, but Kane and Koury lose sight of their own film, which is really a story about two men so desperate to hear the sound of their own voices that they deluded themselves into thinking they had something to say. Voyeur falls right into their trap.

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