Indiewire's Scores

  • Movies
  • TV
For 1,521 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 9 points higher than other critics. (0-100 point scale)
Average Movie review score: 72
Highest review score: 100 Foxtrot
Lowest review score: 0 A Dog's Purpose
Score distribution:
1521 movie reviews
    • 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.
  1. 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.
  2. 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.
  3. 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.
  4. A beautiful wisp of an idea that is seldom compelling and almost never coherent, Planetarium squanders an irresistibly alluring premise.
  5. 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.
  6. There's nothing slick or entertaining about the crumbling existence of Pomes' unsalvageable antiheroes.
  7. 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.
  8. Braff hasn't made another generational statement, but rather a regurgitation of tropes that got old a long time ago.
    • 43 Metascore
    • 58 Critic Score
    A stylish but ultimately stiff collection of old tropes about writers and their audience, fiction vs. reality, and the Other that becomes you.
  9. Franco clearly enjoys playing the idealistic rabble rouser, and who wouldn’t want to direct a movie so they could cast themselves as a charismatic radical? Unfortunately, watching someone else play make believe is only fun if you believe it yourself.
  10. The action scenes in Machine Gun Preacher work fine on their own, but they cheapen a work that attempts to command great importance.
  11. The premise begs to provoke contentious debate around privacy laws in an age of boundless innovation, but it can’t seem to find steady footing in that dialogue, in part because it lacks a substantial means of asking the right questions.
  12. The only reason to take such a uniquely Japanese story and transplant it to Seattle is to explore how its thorny moral questions might inspire different answers in an American context, so for this retread to all but reduce America to its whiteness indicates an absence of context more than anything else. It’s the most glaring symptom of a film that utterly fails to investigate its premise.
    • 42 Metascore
    • 58 Critic Score
    If anything, The Adderall Diaries is worth seeing for the ways it challenges the audience to examine and take responsibility for their own personal narratives.
    • 42 Metascore
    • 42 Critic Score
    If the first film was ploddingly, airlessly faithful to its source, this follows the second in being frantically paced, chaotic and increasingly exasperating.
  13. Burnt deals less with the food itself than the way it drives Adam to the brink of insanity. Yet it falls short of generating any real urgency surrounding that situation.
  14. It’s a fittingly ambiguous title for a directionless film, late night fare that will be enjoyed by just as many horny men as horny teenage lesbians.
  15. Rather than making his own movie, Gosling has composed a messy love letter to countless others.
  16. Part “Game of Thrones,” part “Snatch,” and almost all bad, Guy Ritchie’s King Arthur: Legend of the Sword is one of those generic blockbusters that has nothing to say and no idea how to say it.
  17. It’s an amenable enough ramble of a romantic comedy, and Witherspoon is as charming as ever in the genre in which she excels.
  18. Passengers refuses to really wrestle with the compelling questions at its core, instead opting to lean on Lawrence and Pratt’s collective charm to keep things ticking amiably along.
    • 41 Metascore
    • 50 Critic Score
    While it has a few appealing qualities, as a whole it amounts to a well-intentioned bag of missed opportunities.
  19. Melissa McCarthy is hilarious in every scene of The Boss, but the movie rarely keeps up with her.
    • 40 Metascore
    • 50 Critic Score
    You’ll get little more than a refresher course in the art of gaming from this documentary.
  20. The in-between moments when Mine is simply a guy stuck in the desert, trying to use his own wits to save himself, is when the film is at its very best, but that’s precisely what makes Mine such a disappointment: those moments are the in-between ones, not the bulk of the film.
    • 40 Metascore
    • 42 Critic Score
    It’s hard to get the same feeling of awe and epic scale that the series’ best installments can offer when you’re essentially watching ten guys squabble in a forest.
  21. It’s awful, and yet it’s almost objectively Sandler’s best movie since “Funny People.”
  22. Between the setting, the production design and a majority of the cast, Outlaws and Angels has the individual pieces to be something of merit. This particular revenge tale isn’t an example of incompetent filmmaking, just sadly misfocused storytelling.
  23. The hit rate gets better as the film lumbers along and the scenarios grow more extreme, but it takes a certain degree of perseverance to roll with this thing until it pays off.

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