indieWIRE's Scores

  • Movies
  • TV
For 744 reviews, this publication has graded:
  • 77% higher than the average critic
  • 2% same as the average critic
  • 21% lower than the average critic
On average, this publication grades 14.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 76
Highest review score: 100 Green Room
Lowest review score: 0 In Secret
Score distribution:
  1. Negative: 17 out of 744
744 movie reviews
  1. Epic in scope yet unassuming throughout, Linklater's incredibly involving chronicle marks an unprecedented achievement in fictional storytelling.
  2. A nuanced tale of mutual attraction that reflects a filmmaker and cast operating at the height of their powers, rendering complex circumstances in strikingly personal terms.
  3. More than a powerful elegy, 12 Years a Slave is a mesmerizing triumph of art and polemics: McQueen turns a topic rendered distant by history into an experience that, short of living through the terrible era it depicts, makes you feel as if you've been there.
  4. Gravity lets you visit space without sugarcoating its dangers. It's a brilliant portrait of technology gone wrong that uses it just right.
  5. Ever as it casts their future prospects in doubt, Virunga concludes by envying the apes’ perspective most of all.
  6. Bigelow delivers an acute realization of the mission's execution that's eerily in sync with the way it played in the popular imagination. Visually, the events unfold as a mashup of shadowy movements with flashes of green night vision. It's simultaneously predictable and tense.
  7. It's a frantic microcosm of life itself.
  8. Before Midnight is the rare cinematic achievement that implicates alert viewers in its mission to understand the mysteries of intimate connections.
  9. Mr. Turner is a first-rate match of director and subject. Less an explication of the man's genius than an immersion into its essence.
  10. First Cousin Once Removed benefits from the clarity provided by Honig's published poetry, which surfaces in voiceover narration and words on the screen, rendering the undulations of his life in sweeping abstractions.
  11. Although not exactly heartwarming, Amour has a more contained vision of human relationships than Haneke's previous films without sacrificing its bleak foundation. It's his most conventional movie about death -- and the most poignant.
  12. An ode to art for art's sake, Inside Llewyn Davis is the most innocent movie of the Coens' career, which in their case is a downright radical achievement.
    • 92 Metascore
    • 100 Critic Score
    Poignant without being melodramatic, overflowing with unforced charm, Me and Earl and the Dying Girl holds a unique appeal that's certain to last.
  13. Rather than building towards the finality of a single climax, Leviathan injects several of them into the tapestry of its elegant design.
  14. Baker once again manages to match underrepresented faces in American cinema with material that lets their personalities shine.
  15. Compared to "The Act of Killing," Oppenheimer's technique with The Look of Silence is deceptively simple, but it applies a more traditional style of documentary storytelling to extraordinary goals.
  16. Stories We Tell marks the finest of Polley's filmmaking skills by blending intimacy and intrigue to remarkable effect.
  17. Hoss' portrayal of a woman at odds with her surroundings is in a class by itself.
    • 91 Metascore
    • 100 Critic Score
    Ida
    Pawlikowski doesn't punish his viewers, he simply challenges them. Take the vow to dedicate your attention to Ida and you’ll be rewarded deeply.
  18. The Witch becomes a focused portrait of fixed rituals crumbling in the face of inexplicable forces, evoking the fear of change lurking in the shadows at every moment. Despite the setting, its scares are uniquely contemporary.
  19. Her
    Certainly his most deeply felt achievement, Her is both distinctly Jonze-like and something altogether different, as if the filmmaker has gone through a software update not unlike his artificial character.
  20. A remarkable refashioning of the Holocaust drama that reignites the setting with extraordinary immediacy, Son of Saul is both terrifying to watch and too gripping in its moment-to-moment to look away.
  21. Aferim! amounts to a serious endeavor designed to explore many facets of its era through the lens of people trapped in it. Their crude dialogue, real as it may be, hints at comedic possibilities while offering a shrewd look at people defined by their circumstances.
  22. Anchored by a sensational Charlotte Rampling as its lead, the movie combines Haigh's perceptive style with shades of Mike Leigh's "Another Year" to create a quietly moving and deceptively tragic look at aging romance haunted by past mysteries.
  23. Story comes second to Russell over the rhythms of well-timed bickering, which is a blessing and a curse in American Hustle.
  24. Playing make believe with murderers, Oppenheimer risks the possibility of empowering them. However, by humanizing psychopathic behavior, The Act of Killing is unparalleled in its unsettling perspective on the dementias associated with dictatorial extremes.
  25. At first galvanizing in its depiction of survival amid dire circumstances, "The Overnighters" transforms into a devastating portrait of communal unrest.
  26. Much of the movie relies on Cotillard's jittery expressions as she veers from tentatively hopeful to despondent and back again, sometimes within a matter of minutes, reflecting the ever-changing stability of job security among the lower class.
  27. It may go without saying that Poetry adopts a lyrical tone, but this forms the crux of its appeal. In this case, the title says it all.
  28. The Artist plays around with the distinction between silent and sound cinema, resulting in the superficial entertainment value of a high concept film school joke. But it's a charming and supremely gorgeous joke -- sometimes too clever for its own good, other times not clever enough, and always at least an attractive diversion.

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