indieWIRE's Scores

  • Movies
For 641 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 Boyhood
Lowest review score: 0 In Secret
Score distribution:
  1. Negative: 12 out of 641
641 movie reviews
  1. The material, however, takes a Raymond Carver short story and plays it almost too straight. Ferrell looks uncomfortable, but not amusingly so.
  2. 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.
  3. Monsters University, the latest Pixar offering, charms in an excessively familiar way that illustrates a troublesome eventuality: Pixar has lost its edge.
  4. 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.
  5. 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.
  6. Prometheus is an unquestionable good time, one of the best big-screen science fiction accomplishments since 'Avatar.'
  7. The resulting adrenaline-packed vehicle delivers a multi-directional sugar rush. It moves so quickly that the bells and whistles blur together.
  8. 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.
  9. 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.
  10. 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.
  11. One development gets short-shifted: the onslaught of studios drowning out what made the Con so attractive in the first place.
  12. 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.
  13. Like its tattered setting, The Rover is scattered with intriguing ideas never successfully fleshed out.
  14. Too in love with itself to ever totally go off the rails, Pacific Rim doesn't qualify as the first full-on dud of del Toro's career, but it's hard not to get the sense that something's missing.
  15. Weisz flirts with greatness but unfortunately misses the opportunity to make the material soar. And yet he comes close.
  16. West, who demonstrated a penchant for extensive build-ups in "The House of the Devil" and "Trigger Man," continually makes it unclear if the inn actually harbors a ghost or if his heroine (Sara Paxton) has simply imagines it. Both she and her hilariously frazzled co-worker (Pat Healy of "Great World of Sound") want to believe in supernatural affairs for the thrill factor alone.
    • 64 Metascore
    • 91 Critic Score
    This documentary is not a dry, academic history of youth culture, but rather a vibrant political statement that shows the powerful force of teenagers and their ability to foment social, cultural, and political change.
  17. 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.
  18. 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.
  19. It's fascinating to watch Murray act circles around his existing appeal and play into it at the same time. Melfi's likable but utterly formulaic movie never rises to a similar level of ambition, which in this case actually works in its favor. It gives Murray room to play.
  20. 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.
  21. Writer-director David Ayer’s brash, assaultive Brad Pitt drama manages some evocative imagery and achieves visceral impact by enacting a hellacious atmosphere that never lets up — but Ayer takes the mission too literally, and winds up literally lost in the fog of war.
  22. 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.
  23. 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.
    • 64 Metascore
    • 91 Critic Score
    Even after a superbly made two-hour-long documentary, Kuti keeps many of his secrets to himself.
  24. Decker's narrative work practically celebrates a willingness to follow outright silly pathways in order to arrive at unsettling results.
  25. Film Socialism is a weighty, intentionally cryptic product that's easy on the eyes and heavy on the mind.

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