Indiewire's Scores

  • Movies
  • TV
For 1,290 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 points higher than other critics. (0-100 point scale)
Average Movie review score: 72
Highest review score: 100 A Separation
Lowest review score: 0 Ratchet & Clank
Score distribution:
1290 movie reviews
    • 49 Metascore
    • 42 Critic Score
    The Sacrament is a missed opportunity to further expand West's pallet. Instead of twisting conventions and playing with expectations, West plays into expectations.
  1. An uneven, intermittently thoughtful but largely preachy overview of WikiLeaks' rising influence that has less of an issue determining Assange's character than it does with telling a compelling story.
  2. The younger Mann goes through the motions of a gritty murder mystery with plenty of technical proficiency but only a modicum of soul. The Mann touch is not only in the DNA of the director but in her movie, which inadvertently makes the case that atmosphere is more hereditary than innovation.
  3. Eventually suffers from a lack of new ideas beyond its initial premise that finds the two brothers inadvertently swapping roles. Once that happens, the movie takes one bland twist after another.
  4. What value there is to be found is in its cast. Hoult and Costa are charismatic, committed, and totally capable of making it feel as though their characters really can’t see what’s coming.
  5. Over time, Gold becomes nothing more than a masterclass in watching a great actor try to build a fortune out of dirt.
  6. At their worst, Affleck’s roles are stern and lifeless without soul, pretty sculptures with nothing inside. It was only a matter of time before he made a movie that embodied that lesser side of his career.
  7. [Dolan's] crafted the semblance of a substantial movie that never quite gets where it was supposed to go.
    • 48 Metascore
    • 58 Critic Score
    Barker-Froyland's intention was clearly to make Song One all about music and how it can bring people together. But the result is all about Anne.
  8. It's painful to watch Red Hook Summer stumble, because the man behind it has tried so hard to get his groove back. However, it's energizing in the fleeting moments when he does just that.
  9. Lockout consists of disciplined action pastiche, but much of its thundering engine borrows from better movies.
  10. You might as well be watching the last 15 minutes with your eyes closed, which is a shame, as the first half of Carnage Park makes a strong case that Keating is someone whose stuff is worth seeing.
  11. The innumerable change-ups in The Perfect Host only pretend to take the plot in new directions. In reality, each new twist is perfectly derivative, which leads to a host of problems.
  12. This tame exercise never quite jives and sometimes just bombs with one-note melodrama, but always maintains Thornton's conviction about the material.
  13. Cruise’s undeniable star power is all that keeps “Never Go Back” from feeling like it came off a studio assembly line, though you’ll still spend most of the movie wondering if you’ve been swindled into watching a movie about Ethan Hunt’s luddite twin brother.
  14. Fine performances by Kate Winslet, Liam Hemsworth and Judy Davis help matters a bit, but the final product is so oddly cobbled together that the entire thing should be left hanging on the rack.
  15. The way it reaches to find the humanity in a place devoid of hope shows admirable attempt at a singular vision. But Paltrow overestimates the timeless nature of the story.
  16. Directed by Sam Taylor-Johnson from Kelly Marcel's screenplay, the considerable talent behind the camera and a modicum of considerable performances yield a few undeniable guilty pleasures, but most viewers will be seeking a safe word to escape this two-hour-plus mess of half-baked excess.
  17. A film that often avoids any middle ground, making for a cut-and-dried courtroom tale that desperately wants to be anything but.
  18. Predominantly a failure of tone, Horns has plenty of admirable traits and yet dooms itself from the outset. It's an admirable conceit stuffed into far less subtle material.
  19. The mystical allure of this long-awaited "lesbian werewolf movie" turns out to have more value than the real thing.
  20. Unforgettable treats this central struggle over the heart of a family in the same way that a recent Ken Watanabe character does, by surveying the battlefield and coming to a simple, definitive conclusion: “Let them fight.”
    • 45 Metascore
    • 42 Critic Score
    Focusing on cultural references and social cues, About Alex fails to give us a big picture compelling enough to overlook its flaws.
  21. Salt and Fire is by no means the most willfully obtuse film that Herzog has ever made — it seems as broad as a blockbuster when compared to the likes of “The Wild Blue Yonder” and “Lessons of Darkness” — but it’s the only one of his works in which his curiosity has completely eclipsed his insight.
  22. Whereas "The Apostle" was a passionate effort for Duvall that he spent years pulling together, Wild Horses feels more like a vanity project that eschews polished storytelling for half-baked conceits.
  23. For all of its surprising relevance, Power Rangers feels hopelessly lost in time. There is an audience for this movie, but this movie has no idea who that audience might be.
  24. If, for all of its godawful men, “Brimstone” has a hard time sewing its feminist fervor into anything more than a thin shawl over its bleak spectacle, this disturbingly watchable religious Western makes a solid case that hell is a place on Earth.
  25. Rather than focusing on a cataclysmic showdown between pop culture's most famous men in tights, Zack Snyder's flashy, cacophonous follow-up to 2013's "Man of Steel" is basically one long teaser for the next installment.
  26. There's nothing slick or entertaining about the crumbling existence of Pomes' unsalvageable antiheroes.
  27. The movie is constantly at war with attempts to provide an honest portrayal, almost as if its subject were reaching beyond the grave to steer any negativity back in the direction of a hagiography.

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