IndieWire's Scores

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For 1,786 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 8.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 72
Highest review score: 100 Leviathan
Lowest review score: 0 Hillary's America: The Secret History of the Democratic Party
Score distribution:
1786 movie reviews
  1. Even when that story drags, Moonrise Kingdom could be appreciated on mute.
  2. Assembling the story out of small moments and gripping exchanges, Campillo grounds this earnest drama in a sense of purpose.
  3. A rich, almost impermeably strange example of Costa's slow-burn approach to abstract storytelling, Horse Money is more subdued and cryptic than its predecessors, to the point where it might be more appropriately described as a cinematic tone poem.
  4. No matter its overarching ridiculousness, The Handmaiden remains a hugely enjoyable dose of grotesque escapism from a master of the form.
  5. Leave No Trace sprouts into a modest but extraordinarily graceful film about what people need from each other, and the limits of what they can give of themselves.
  6. Haunting and celebratory at once, Heart of a Dog ultimately amounts to a contemplation of mortality.
  7. 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.
  8. There's a adrenaline rush even in the problematic finish, an eagerness that drives the filmmaking so that Looper is thrilling to watch even when it falls apart.
  9. Staggeringly beautiful and immensely true, the best animated film of 2016 — one of the year’s best films of any kind, really.
  10. At every turn, Fisher is honest and open, relatable to the point that you feel as if you’re actually watching her own life play out.
  11. Winsome, sweet, and often very funny, The Other Side of Hope is more of the same from Kaurismäki, and thank God for that.
  12. It’s an enticing challenge for the writer-director to develop a stylish mood piece out this flimsy material, adapted from a Jonathan Ames novella as a series of textured moments. The movie is an elegant homage to a mold of scrappy detective stories that often collapses into a concise pileup of stylish possibilities.
  13. In its way, this small, handcrafted, and immaculately well-realized feature challenges the limited way that movies tend to depict loss.
  14. Lowery manages to find entertainment value and genuine intrigue from his outlandish scenario, synthesizing the magical realism of his earlier films with a tighter grasp of tone.
  15. With a keen eye for the capacity of fine art to address a complex range of attitudes and experiences, Museum Hours effectively applies Cohen's existing strengths to a familiar scenario and rejuvenates it by delivering a powerfully contemplative look at the transformative ability of all art.
  16. The Descendants constantly hovers on the brink of a dark comedy. But it never takes the big plug. By treading carefully, Payne has created his warmest, most earnest work, if not his best.
  17. Unapologetically long and messy, Snowpiercer offers an unhinged ride that's worth the investment for its mixture of batty personalities, consistently impressive visuals and mad swipes at heavy symbolism jam-packed together.
  18. Potrykus’ movies are fixated on the self-destruction inherent to all capitalist systems, and there may be no better avatar for this concern than a brain-dead dude playing video games until the end of time.
  19. Under the Shadow smartly observes the emotions stirred up by a world defined by restrictions, and the terrifying possibility that they might be inescapable.
  20. If Get Out isn’t half as scary as the ideas that inspired it, Jordan Peele’s directorial debut is almost certain to be the boldest — and most important — studio genre release of the year. What it lacks in fear, it nearly makes up for in fearlessness.
  21. The filmmakers have instead provided a brilliant window into the impact of the contemporary media circus on public life. While not exactly a figure of sympathy — he lied, after all, more than once — Weiner nevertheless maintains the charisma and drive to provide the movie with one of the most compelling anti-heroes in recent memory.
  22. The narrative only really stumbles because its tone never manages to convince on the level that McConaughey's performance eventually does. With its subdued approach, Dallas Buyers Club stops just short of an emotional payoff.
  23. Endlessly charming and sneakily wise, Everybody Wants Some!! epitomizes Linklater's unique ability to magnify human behavior with levity.
  24. Newton’s film knows that people are always going to be letting themselves (and each other) down, no matter how hard they try, and Nicholson’s unforgettable turn makes it impossible for us to forget it.
  25. By sprinting through 50 years of features so fast that each of them ultimately feels like a single frame rattling through a projector, they blur De Palma’s body of work into a moving truth that none of his individual films has ever crystallized with such clarity: The movies are real-life; the great filmmakers are the ones who never let you forget that.
  26. It’s so confidently directed and performed that even the obvious bits sink in.
    • 83 Metascore
    • 91 Critic Score
    Much of Kiki’s charm comes from Miyazaki’s understated approach to the material. Instead of grabbing the viewer by the lapels and insisting everyone’s having a great time, Miyazaki leads the audience into the story with unobtrusive grace.
  27. '71
    '71 constantly thrills without sensationalizing its surprises. The war-is-hell ethos drives it forward, so that the movie retains its suspense in conjunction with its dour outlook.
  28. The movie makes a strong case against the captivity of killer whales under sub-circus conditions, but the stance is made even more horrifying because so little has changed in the history of the organization. Blackfish is less balanced investigation than full-on takedown of a broken system.
  29. 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.

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