indieWIRE's Scores

  • Movies
  • TV
For 804 reviews, this publication has graded:
  • 76% higher than the average critic
  • 2% same as the average critic
  • 22% lower than the average critic
On average, this publication grades 14.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 76
Highest review score: 100 The Pearl Button
Lowest review score: 0 Pixels
Score distribution:
  1. Negative: 20 out of 804
804 movie reviews
  1. While visually scrumptious, the movie struggles to reach a greater profundity that it never quite obtains, but its childlike emulation of a grand tragedy is indelibly precious.
  2. Bogged down by flashbacks and flash forwards, The Bastards pointlessly mixes up its ingredients, creating a distancing effect from the tangible sadness at its core. The result is the rare case of a movie that confirms its maker's skill while wasting it on useless ambition.
  3. A viscerally charged movie that foregrounds surface tensions and gripping performances, Ginger and Rosa is the filmmaker's most accessible and technically surefooted work to date.
  4. Boone’s unobtrusive style takes cues from the subdued nature of the material, but there’s little about the movie that makes the filmmaking stand out. Instead, it derives its chief strengths from a series of efforts to take the drama seriously, mainly embodied by Woodley’s onscreen investment in it.
  5. He's still cultivating his storytelling abilities, but Wheatley has clearly found his sweet spot: a darkly funny place with serious potential.
  6. Dancing around melodrama rather than confronting it head-on, Uncertain Terms hides its revelations in the textures of each scene. It places drama in the context of everyday life.
  7. Cold-blooded killers rarely look this pathetic, which testifies to the impressive balance of Skarsgård's amusingly low-key performance.
  8. Unquestionably stands above the market standard for middlebrow comedies, but it repeatedly approaches greatness and stands down, beholden to forces quite possibly beyond the directors' control.
  9. By virtue of its style and high stakes scenario, End of Watch is impressively tense, but then so are most episodes of "COPS," which don't suffer from the forced melodrama found here.
  10. Potiche successfully satirizes the gender politics at its core. At the same time, it knowingly mocks the obsession over debates about the suppression of women that pervaded the culture during the movie's setting.
  11. Wan seems to critique the third act failings of The Conjuring during the alarmingly superior first half.
  12. Jones' alternately skillful and irreverent approach results in a mixed bag of possibilities, with many terrifically entertaining on their own even as the overall picture remains muddled.
  13. As slickly paced as a big-studio espionage movie, it nearly succeeds as a pure adrenaline-rush thriller. In the end, the problem isn't that there's too much plot, but rather a certain dramatic illogic.
  14. As a movie, Black Mass often drowns its dramatic potential in a dreary atmosphere and grisly violence used to dubious effect. Depp, however, operates on another level.
  15. It's a movie that must be seen, processed and discussed, perhaps the first of its kind to transform the audience into a focus group.
  16. Treasuring small victories and mood above all else, Land Ho! makes it possible to engage with its subjects' pathos and experience their sense of renewal along with them.
  17. To Die Like a Man deserves your attention for showcasing a filmmaker with the capacity for bold narrative trickery that doesn't come at the expense of emotional investment.
  18. Given the saturation of the found footage horror genre, Cordero's approach delivers a much shrewder alternative that goes beyond the power of suggestion by rooting its otherworldly fears in authenticity.
  19. Neither surprising or groundbreaking in any particular way, the movie gives us what we want and leaves it at that.
  20. Small touches point to a slightly better movie hiding beneath most of the routine, particularly the respectable finale that stops just short of the clichéd resolution expected of it. On the whole, however, The Way, Way Back dances to a tune we've heard too many times before.
  21. By its later scenes, Chef only finds respite from its bland qualities through the scrumptious-looking dishes constantly on display. As self-indulgent vanity projects go, this one's pretty innocuous, if only because it's always easy on the eyes.
  22. The whole experience is one long rant in radiant colors.
  23. The story arrives at a satisfying emotional conclusion with wonderfully thoughtful ramifications.
  24. Striking a complex tone of tragedy and uplift at the same time, Kumiko, the Treasure Hunter both celebrates the escapist power of personal fantasies and bears witness to their dangerous extremes. It's the rare case of a story that's inspirational and devastating at once.
  25. That the movie succeeds both as a high-stakes crime thriller as well as a far quieter and empathetic study of angry, solitary men proves that Cianfrance has a penchant for bold storytelling and an eye for performances to carry it through.
  26. Nathan never condescends to Pug or his cohorts, instead smartly allowing their brazen maneuvers to run the show.
    • 68 Metascore
    • 100 Critic Score
    Despite the formulaic setup, People, Places and Things benefits from first-rate writing and stellar performances.
  27. The director's murky, ill-conceived take on the world's oldest disaster story contains some of the most pristine visuals produced on a mass studio scale in some time. But it's also constantly tethered to a dull, melodramatic series of events out of whack with any traditional interpretation of the material.
  28. Cutting between various chilling anecdotes of sinister late night visions and horrifying reenactments, The Nightmare manages a tricky balance of visceral fright and sincere investigation. It's a rare non-fiction achievement that earns the ability to freak you out.
    • 68 Metascore
    • 75 Critic Score
    Even as the story’s increased tension weakens its subtleties, Zobel's sensitive handling of the emotional tone throughout grounds the film with an overarching realism despite the far-fetched setting.

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