indieWIRE's Scores

  • Movies
For 659 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 14.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 76
Highest review score: 100 Take Shelter
Lowest review score: 0 In Secret
Score distribution:
  1. Negative: 13 out of 659
659 movie reviews
  1. Well made as it is, Don Jon suffers from a half-baked scenario that never manages to make its characters as intriguing as the problems that afflict its protagonist. It's a movie that shows better than it tells, even as it leaves much up to the imagination.
  2. It's an unflinching update to media scholar Neil Postman's prophetic claim about the deadly impact of television on cultural identity: Smartphones in hand, we face the danger of filming ourselves to death.
  3. The Snowtown Murders manages to become a compelling exercise that excels at making horrible acts look shockingly listless.
  4. The result is an uneven drama with genuine intellectual heft that often outshines its flaws.
  5. The Butler carries an authenticity that sustains it through its cloying stretches.
  6. It's impossible to look away -- not only because the sense of anticipation is so vivid, but because there's no other way to follow the bizarre plot than keep with it.
  7. Decker's narrative work practically celebrates a willingness to follow outright silly pathways in order to arrive at unsettling results.
  8. The filmmakers have crafted seriously derivative fun that plays like "Scream" molded with "Cabin Fever" in the twisted universe of "Final Destination." It's a familiar ride, but a relentlessly wild one as well.
  9. The Love We Make provides sufficient behind-the-scenes nuggets for diehard fans of McCartney and Maysles alike.
  10. In a incredibly contained performance that ranks among the best of her career, Juliette Binoche portrays a woman trapped by mental and physical constraints alike.
  11. The reason to care about Life, Above All doesn't stem from its bleeding-heart plot...The reason to care is newcomer Khomotso Manyaka, who nimbly shoulders a role that places her front and center in nearly every scene.
  12. The Bay manages to scare up a real fear of environmental neglect. It's quite possibly the first example of jump scares used in service of activism.
  13. It's a period piece composed of familiar pieces, none of which have much to say beyond surface elements that have been explored countless times before. Using a typical coming-of-age mold, Chase turns cultural ephemera into formula.
    • 65 Metascore
    • 83 Critic Score
    Drawing from the wellspring of her own life, Forbes' agile tone allows the film to indulge in heartbreak and humor with equal measure.
  14. It's almost enough to make you wish that Kokidas and co-writer Austin Bunn had fictionalized the story. But then again, a beardless Ginsberg isn't really Ginsberg at all, which gives Radcliffe all the room to play around with the character that he needs. It might be best spell yet.
  15. For anyone frustrated with countless formulaic exercises that drain modern horror of fresh ideas, Tucker & Dale is a downright cathartic indictment that encourages comparison to the "Scary Movie" franchise. It's mostly a smart spoof that looks awfully dumb for a reason.
  16. The material, however, takes a Raymond Carver short story and plays it almost too straight. Ferrell looks uncomfortable, but not amusingly so.
  17. While Francine distinguishes itself with atmospheric strangeness, Cassidy and Shatzky never create a satisfying whole.
    • 65 Metascore
    • 75 Critic Score
    Ultimately, Saving Mr Banks is witty, well-crafted and well-performed mainstream entertainment which, perhaps unavoidably, cleaves to a well-worn Disney template stating that all problems - however psychologically deep-rooted - can be overcome.
  18. Monsters University, the latest Pixar offering, charms in an excessively familiar way that illustrates a troublesome eventuality: Pixar has lost its edge.
  19. With the exception of a few candid moments featuring James at home, Knuckle isn't particularly well-made, but there's an inherently fascinating quality to the material.
  20. While frequently very funny and sustained by a pair of boldly unlikable female protagonists, Fort Tilden adopts the glorious stupidity of its stars, and echoes their gratingly obnoxious temperaments.
  21. Prometheus is an unquestionable good time, one of the best big-screen science fiction accomplishments since 'Avatar.'
  22. The resulting adrenaline-packed vehicle delivers a multi-directional sugar rush. It moves so quickly that the bells and whistles blur together.
  23. This could be a recipe for excessive self-indulgence, but the meta quality of Red Flag is entirely irrelevant to its low key charm and persistent irreverence -- anchored, as always, by Karpovsky's loopy screen presence.
  24. Representing lower-class violence taken to an extreme, the cannibalism cannot be contained by police work. The movie's gradual build to a thrilling, appropriately bloody climax intensifies this disconnect.
  25. Bier has done far more compelling work before, but the globe-spanning, life-affirming, morally upright trajectory of her latest accomplishment weakens its quality while sustaining its popularity. In a Better World is heavy, but it's also heavy-handed.
    • 65 Metascore
    • 100 Critic Score
    Via his subject’s idiosyncracies – VanDyke is a habitual hand-washer and diagnosed OCD-ite – Curry starts to weave a subtle, but nonetheless eloquent critique not just of one man's compulsions, but a culture's.
  26. One development gets short-shifted: the onslaught of studios drowning out what made the Con so attractive in the first place.
  27. Estevez treats the drama with a straight-faced, utterly earnest approach with dual respect for the material and the audience's awareness of how it can go wrong. By playing it straight, The Way never goes off the deep end.

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