indieWIRE's Scores

  • Movies
For 643 reviews, this publication has graded:
  • 78% higher than the average critic
  • 2% same as the average critic
  • 20% lower than the average critic
On average, this publication grades 14.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 76
Highest review score: 100 A Separation
Lowest review score: 0 In Secret
Score distribution:
  1. Negative: 12 out of 643
643 movie reviews
  1. The first half of I'm Glad My Mother's Alive effectively inhabits a child's mind in a manner that recalls Maurice Pialat's marvelous 1968 debut "The Naked Childhood."
  2. The Forgiveness of Blood examines the barriers of ritual and the passage from youth to adulthood in Albanian society with the perceptive detail of a grand literary feat. At the same time, it retains the simplicity of a parable.
  3. Gibney's narrative drags to some extent when the focus widens to explore the Vatican's overall policy for covering up sex scandals, but he successfully demonstrates the systematic failure of a system designed work flawlessly on the basis of spirituality that never existed in the first place.
  4. With its persistent inventiveness and a lack of unearned sentimentality, the movie provides an antidote to a lot of lazily produced dramas about death, American or otherwise.
  5. Intermittently action-packed and lethargic, the movie dances around formula. By delivering an expressionistic character study with bursts of intensity unlike anything else in his oeuvre and yet stylistically representative of its entirety, Wong practically has it both ways.
  6. Magic Mike casts a seriously entertaining spell.
  7. While not the director's canniest piece of filmmaking, it's unquestionably his angriest, politically motivated achievement. Every missive hits its target hard with a comedy-horror combo aimed squarely at the kind of commercial stupidity that Cronenberg has avoided throughout his 45-year career.
  8. At its core, A Screaming Man emphasizes the strength of family bonds. It's a sad, moving portrait that has nothing to do with its chaotic setting.
  9. If you've never heard of LCD Soundsystem or cared much for the group's work, Shut Up and Play the Hits still manages to explore the prospects of fame and contemporary rock music's lasting relevance.
    • 72 Metascore
    • 83 Critic Score
    In telling his story, Amalric is greatly aided by his ace cinematographer, Christophe Beaucarne, whose images pick up on a great many tiny but telling details, as if life were a mosaic composed of an almost infinite number of parts that are all equally important for the bigger picture.
    • 72 Metascore
    • 100 Critic Score
    “The Fast and the Furious” with wheelbarrows, Paraguayan action-thriller-romance hybrid 7 Boxes is a rollicking good time at the movies that offers breathtaking action and suspense, humor and appealing characters all in one visually flashy package.
  10. Exhibition infuses its cerebral exposition with a strong dose of humanity.
  11. Never indulging in outright scare tactics or loose improvisation, the movie primarily works like an awkward narrative that plays with perspective.
  12. Kim's movies are generally grim, disturbing affairs, but "Pieta" leaves much to the imagination in favor of its unsettling implications.
  13. Despite its meandering plot, Bellflower presents its doom-laden vision as an astonishingly distinctive state of mind, arguing that the end of one self-made world always marks the start of a new one.
  14. Creepy implications keep Super 8 engaging, but the cast makes it click.
  15. Beneath the pixelated gags, the stakes are relatively familiar. However, much of the humor in Wreck-It Ralph riffs on the nostalgia associated with real games.
  16. Post Mortem portrays the specter of dictatorship through the lens of one man's private hell.
  17. Duplass' feisty energy is matched by DeWitt's constant smarminess, while Blunt's shy, fragile behavior balances off the forceful personalities surrounding her.
  18. Jacobs, working from a script by Patrick de Witt, takes a conventional coming-of-age story and does it proud, enlivening the plot with an almost experimental portrait of alienation and despair.
  19. Progressing with a coldly observational pace, Rapt often strains its drawn-out structure, creating a lethargic experience despite essentially taking the form of a Bressonian suspense-thriller.
  20. At its core, The Double Hour is a classic noir story of deception.
    • 71 Metascore
    • 83 Critic Score
    Fed Up is a glossy package that gets its warnings across loud and clear: we need to change what we eat.
    • 71 Metascore
    • 100 Critic Score
    If The Raid: Redemption was a thrashing drum solo, its sequel is the opulent symphony where every instrument is played with fevered inspiration.
  21. Despite its predictably cheery vibe, Being Elmo implies a certain darkness lingering beneath the surface of Clash's life.
  22. For Godard junkies Goodbye to Language is rich with Godard's temperament—and thus an enjoyable provocation, even if it doesn't all add up. But what Godard movie truly does?
  23. Unlike recent activist documentaries about animal cruelty like "The Cove," Leeman's narrative doesn't feature any real villains. Balding's bond with Flora leaves him in a perpetual state of uncertainty about which possible new home for his elephant would provide the safest habitat.
  24. For everything that Mozart's Sister imagines, it leaves much more up to imagination.
  25. Black Death embraces its horror roots with ample bloodshed, at which point the silly costumes and anachronistic dialogue no longer seem so absurd.
    • 71 Metascore
    • 100 Critic Score
    Fiennes wisely stays out of his way here. Zizek is the star, edited down to digestible elements, with archival footage used adroitly to drive his arguments home.

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