indieWIRE's Scores

  • Movies
For 601 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 The Secret Disco Revolution
Lowest review score: 0 In Secret
Score distribution:
  1. Negative: 12 out of 601
601 movie reviews
  1. Savagely assaulting the desperate state of a blue collar family man, the comedic thriller Cheap Thrills establishes a ridiculous premise early on and takes it to various extremes, again and again, until you just have to accept the crazy venture on its own terms or simply give up.
  2. Imagine "Harold and Maude" directed by Eric Rohmer with shades of film noir and doused in philosophical chatter enhanced by ample white wine. But Domain isn't pure formula, because the subversion of expectations is its centerpiece.
  3. The movie isn't political so much as philosophical, trashing the notion of the American dream as anything more than fodder for an endless rat race.
  4. Dennis Farina's washed-up hustler in The Last Rites of Joe May is designed in the in the mold of a classic movie star tough guy, but the veteran character actor's performance also serves to disassemble it.
  5. Set in a barren juvenile detention center, the movie works as a grueling coming-of-age story, linking it to the likes of "4 Months, 3 Weeks and 2 Days," even if it lacks the same lasting appeal.
    • 64 Metascore
    • 83 Critic Score
    Nymphomaniac is indeed a major work that tries and, to a large extent, succeeds to organically synthesize the world, ideas and filmmaking savvy of von Trier in one sprawling and ambitious cinematic fable. Somewhat shockingly given the subject matter, the most stimulating material in Nymphomaniac isn't the explicit sex but how sexuality is discussed and understood.
    • 64 Metascore
    • 83 Critic Score
    Myers brings energy to his first film the way he brought it to his early comedy – a little too much.
  6. Film Socialism is a weighty, intentionally cryptic product that's easy on the eyes and heavy on the mind.
  7. The first-time director's refreshingly credible portrait of a boho character with Middle Eastern origins rectifies the aforementioned canonical gap in a witty, naturalistic generational snapshot.
  8. Just strange enough to get inside your head, it's ultimately less committed to the meaning behind its events than the lucid means by which they take place.
  9. At times a rich, intimate observation of emerging sexuality, the movie also maintains a quiet, observational rhythm that peaks around wintertime when things grow dark for the character and then more or less watches her grow up.
  10. Wright's extraordinary long takes draw you into the universe of Anna Karenina with a seamless approach that a straightforward literary adaptation could never accomplish.
  11. Dickinson's hauntingly naturalistic look at disgruntled young adults trapped in the country following an urban disaster plays like "Martha Marcy May Marlene" transported to a post-apocalyptic survival narrative -- with lots of yoga and sex.
  12. Hooper's approach comes across as the equivalent of sitting in the front row of a stage play while the entire cast leans forward and blares each song into your eardrums.
  13. With a dense, often impermeable style and a mentally unstable protagonist, Simon Killer is like watching the disturbed anti-hero of "Afterschool" all grown up.
  14. The problem with Outside Satan is that the filmmaker has remained faithful to expectations without enlivening them. It's a curious exercise unworthy of his expertise, but then he may realize as much.
  15. Atmospherically, Spring Breakers is an elegant evocation of noir storytelling, littered with misdeeds with girls and guns at every turn.
  16. World War Z may wear its intellect proudly, but also consciously translates the zombie premise into a safer context for wider audiences. It's not the smartest zombie movie ever made, but might be the most commercial one.
  17. A slow burn thriller taken to the extreme, Cristi Puiu's Aurora continues the Romanian writer-director's obsession with time as his main narrative device.
  18. Directors Katie Graham and Andrew Matthews' directorial debut (from Matthews' screenplay) centers on a highly unlikable character who has alienated himself from social responsibility -- and forces you to sympathize with him against all odds.
  19. Well cast and undeniably attuned to the nuances of human behavior, Amigo nevertheless suffers from simple dramatic shorthand.
  20. Keyhole never comes together, but that's part of Maddin's creed. He makes movies about movies to express his love for movies, which is to say he makes movies about himself.
  21. Even as California Solo plays like a track we've heard before, it's still worth a listen.
    • 62 Metascore
    • 91 Critic Score
    Even after a superbly made two-hour-long documentary, Kuti keeps many of his secrets to himself.
  22. While it eventually devolves into exploring the terrifying prospects of something hairy lurking about in the shadows, Goldthwait uses that thrill factor to validate the commitment of Bigfoot believers. Willow Creek never feels like an attempt to proselytize, but it's a smart recognition of the dangers involved in doubt.
  23. With an eye for gritty, shameless fun, Friedkin unleashes the play's guilty pleasure center. Friedkin holds nothing back, but it's Letts' rambunctious plotting that enables the director to chart a path to the wild climax.
  24. As a whole, Begin Again is a fairly mannered treatment of an expressive medium.
  25. Even when it stumbles, however, 2 Days in New York retains an airy vibe, reflecting its dogged intention to charm its viewers. But seeing as "2 Days in Paris" never felt especially irksome, this affable sequel deserves the same insouciant shrug.
  26. For American audiences, each gag has added appeal because it contains an uneasy humor that's often explored but never fully exploited in these parts.
    • 62 Metascore
    • 75 Critic Score
    Thomas and his co-writer Diane Ruggiero have penned a self-avowed love letter to the fans of the series, but grounded it in a solid thriller with compelling characters and bright comic moments.

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