indieWIRE's Scores

  • Movies
For 619 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 Tiniest Place
Lowest review score: 0 In Secret
Score distribution:
  1. Negative: 12 out of 619
619 movie reviews
    • 60 Metascore
    • 83 Critic Score
    At its best, the film doesn't strain for meaning but instead treats all of its intellectualizing as a lark that can be taken seriously but doesn't need to be.
    • 60 Metascore
    • 67 Critic Score
    The Good Son is Mancini’s mea culpa memoir; a grand act of self-vindication that succeeds because the boxer is sympathetic and asks respectfully for forgiveness and absolution.
  1. A minor work by Loach's standards, the movie nevertheless marks his most enjoyable effort in years.
  2. Hiding behind a shaggy beard and a stoner grin, Paul Rudd plays an amusingly oblivious shlub in Our Idiot Brother, but the movie can't keep up with his comic inspiration.
  3. To be fair, Breathe In may hit a lot of familiar beats, but none of them are entirely unwelcome.
  4. Of course, it might take time for Jim Loach to catch up with his father's track record; Oranges & Sunshine is a good place to start.
  5. The curious thing about C.O.G is that it doesn't play like a straightforward adaptation. Much of the mood comes from ingredients that have nothing to do with story or dialogue.
  6. Too late, At Any Price displays the presence of a skilled filmmaker capable of using ambiguous pauses and representational imagery to convey the issues of greed and other covert desires. Until then, it's a slovenly affair only distinguished by its name cast.
  7. As Love Is All You Need goes through the motions of drawing its central couple together, Bier delivers nothing more than a well-made, strictly middlebrow entertainment with a bittersweet polish that's easy to enjoy and forget in equal measures.
  8. While the contradiction of punk rock parenthood may not have a solution, The Other F Word successfully has fun with the mystery.
    • 60 Metascore
    • 75 Critic Score
    In terms of its pure laughter quotient, They Came Together constantly delivers.
  9. The story transitions from a believable portrait of young culture junkies into a showcase of Matt's burgeoning rage so well that it practically implicates viewers in the process.
  10. With tightly controlled performances and uniquely eccentric events, The Beaver is mainly undone by the lack of a satisfying outcome.
  11. Lone Survivor is a grotesque action movie at times impressively directed by Peter Berg that combines the brute masculinity with the ugliness of the battlefield and viscerally unsettling shock value. But it's less a depiction of courage than a brutish magnification of anger and pain, both of which it conveys a lot better than the high ground that it reaches for.
  12. It's a showcase of proficient storytelling that's eager to entertain.
  13. The whole thing is a step above studio romantic comedies, but that's not saying much.
  14. Even as The Keeping Room plays with formulaic ingredients, it manages to combine them into an eloquent portrait of gender, race and the constant march of time without overstating any of its potent themes.
  15. Sarah's need to save her brother provides the initial raison d'être, but with the mystery is resolved early on Sarah's Key turns into a flimsy meditation on grief.
  16. Go For Sisters, like the filmmaker's previous features "Amigo" and "Honeydripper," sustains a feeble premise with richly defined characters and strong performances, yielding an underwhelming but nonetheless sustainable viewing experience.
  17. It pitches a tone between comedy and tragedy that holds unique appeal.
  18. A straightforward tale of overcoming personal and professional challenges with no fancy dressing, Grigris goes down easy but offers nothing remotely fresh.
  19. Stone's uneven direction veers from near-amateurish genre antics to an enjoyable awareness of those same standards.
  20. Dupieux's utterly zany slice of narrative subversion transcends that singularly goofy premise to create one of the more bizarre experiments with genre in quite some time.
  21. Fitfully uneven, Dredd is nevertheless an intriguing consolidation of action-movie excess -- and even makes a solid case for its aesthetic appreciation.
  22. Paranormal Activity 3 hardly adds anything new to the situation; instead, it pretends to fill a gap while basically just heaping on one calculated "boo!" after the other.
  23. It tries to have some bite to its will-they-or-won't-they scenario but ultimately winds up toothless.
  24. Welcome to the world of white people problems, ground zero for the strain of American comedies that Apatow does best. But does he really?
  25. Admittedly lovely and heartfelt, Norwegian Wood is also hollow.
  26. To the Wonder renders the familiar terrain of romantic dysfunction on a grand scale. Malick haters may not change their tune, but at least they can admit that To the Wonder maintains a consistent thematic focus.
  27. Political only by implication, Zero Bridge works in a larger sense as a story of universal longing.

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