Indiewire's Scores

  • Movies
  • TV
For 1,627 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 8.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 72
Highest review score: 100 A Pigeon Sat on a Branch Reflecting on Existence
Lowest review score: 0 A Dog's Purpose
Score distribution:
1627 movie reviews
  1. Red Christmas rarely deals in gore for gore’s sake in its early going. By the end, however, it becomes such an exercise in sensibility-testing brutality that any message about the fragility of the family unit is as murky as the cinematography.
  2. Expert craftsmanship can't rescue Triple 9 from the constant feeling of a pulpy remix.
  3. It’s director Wes Ball who emerges as the real hero here, the former visual effects supervisor proving himself to be the rare filmmaker who can force some genuine vigor into one of these banal modern blockbusters.
  4. Love plays out like the fragmented outline for a more engaging movie. But the one found here lacks substance both on the level of story and graphic reveals.
  5. Ultimately, Robbins’ domineering character is so well-calculated that it appears Berlinger couldn’t peer beyond the curtain even if he tried. That fascinating dilemma makes the movie worth watching even though it presents an incomplete picture.
    • 51 Metascore
    • 58 Critic Score
    The numerous belly laughs are undermined by jarring flashes of darkness that never organically sync with the plot.
  6. While “Jason Bourne meets Temple Grandin” might sound like an interesting idea for a studio write-off, “James Bond meets Michael Clayton meets Rain Man meets all of their friends and enemies” is a dull movie that’s too full of distractions to pay out any dividends.
  7. It never crystallizes into a singular experience, and instead collapses in a rush of well-intentioned innovations.
  8. Emmerich takes the story at face value and delivers a film unlike any of his others. That is to say, a boring one.
  9. Unfortunately, while Julianne Moore and Ellen Page go great lengths to make the central romance convince, Nyswaner's undercooked script and Peter Sollett's direction have the opposite effect, reducing Freeheld to a tired formula.
  10. This is irrefutably Kinnaman’s movie, but Connolly fatally undervalues him. He doesn’t trust his actor to walk the emotional tightrope his film stretches taut before him, to sell us on the idea of a father digging himself deeper into a hole of his own design.
  11. The bone-crunching action and relentlessly blood-letting feels out of place, and as those sequences start appearing with more frequency, the film loses much of its rangy charm.
  12. The film is never funny, and its attempts to wink at the adults in the room are so lame that you wish they’d been left on the cutting room floor, but the deeper the film delves into Tim’s imagination the less imaginative it becomes.
  13. 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.
  14. Ellen Barkin puts on a bold, candid performance in Cam Archer's Shit Year, but the enigmatic movie is composed of too many fragments to sustain her efforts.
  15. A supremely dense coming-of-age drama steeped in weighty blather at the expense of emotional validity.
  16. For a film that chronicles the rise of a creator obsessed with reanimating the dead, Mary Shelley is utterly lifeless. It contains a sparkling and startlingly raw performance by Elle Fanning, but Haifaa Al-Mansour’s disappointing followup to her remarkable “Wadjda” doesn’t push beyond paint-by-numbers biopic posturing
    • 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.
  17. 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.
  18. Save for a few clever twists and winning performances from O’Shea Jackson Jr. and 50 Cent (née Curtis Jackson), Den of Thieves is the kind of bloated crime thriller that could have been made in any decade — which is not to call it timeless so much as way past its time.
  19. 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.
  20. With Shaye’s performance as its anchor, the movie is often a perceptive character study, at least until it’s hijacked by the same bland trickery that so often fogs up horror movies with more to offer.
  21. 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.
  22. The whiz-bang joy of the first film is wholly absent, and Despicable Me 3 limps along for nearly an hour before finding its footing.
  23. Over time, Gold becomes nothing more than a masterclass in watching a great actor try to build a fortune out of dirt.
  24. 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.
  25. [Dolan's] crafted the semblance of a substantial movie that never quite gets where it was supposed to go.
  26. Madness is difficult to convey on screen, and less is often more. McLean opts for most, sacrificing Radcliffe performance — so alert and responsive that you can feel the life draining out of his body once the Amazon takes hold — at the altar of some empty affectations.
    • 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.
  27. 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.

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