indieWIRE's Scores

  • Movies
  • TV
For 759 reviews, this publication has graded:
  • 77% higher than the average critic
  • 2% same as the average critic
  • 21% lower than the average critic
On average, this publication grades 14.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 76
Highest review score: 100 We Are the Giant
Lowest review score: 0 Pixels
Score distribution:
  1. Negative: 18 out of 759
759 movie reviews
    • 66 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.
  1. Felix and Meira can only speak in vagaries about their feelings. At times they come across like underwritten archetypes, but the superficial aspects of their scenario are elevated by a pair of deeply empathetic performances. Giroux excels at implying his characters' internal processes.
  2. 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.
  3. The Love We Make provides sufficient behind-the-scenes nuggets for diehard fans of McCartney and Maysles alike.
  4. 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.
  5. 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.
  6. 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.
  7. 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
    • 50 Critic Score
    Margherita's failure to elaborate on her grief is mirrored in Moretti's failure to construct a coherent film where the spectator can find a way into its meaning, rather than being caught in a confused web of suggestions, half-baked ideas and circular exposition.
  8. Unexpected doesn't take such a rosy approach to its conclusion, however, preferring to leave things more up in the air, a narrative choice that is more contemporary in its telling and more genuine in its feel.
  9. 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.
  10. While not aspiring to the heights of the texts underscoring his work, Piñero displays a daring formalism that transcends its many inspirations to find its own unique rhythms.
  11. 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.
  12. The material, however, takes a Raymond Carver short story and plays it almost too straight. Ferrell looks uncomfortable, but not amusingly so.
  13. 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.
    • 65 Metascore
    • 75 Critic Score
    Even if 1001 Grams isn't Hamer's best, it sees the director's enjoyable style come into full form.
  14. Monsters University, the latest Pixar offering, charms in an excessively familiar way that illustrates a troublesome eventuality: Pixar has lost its edge.
  15. 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.
  16. 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.
  17. Prometheus is an unquestionable good time, one of the best big-screen science fiction accomplishments since 'Avatar.'
  18. Even though the story involves legitimate issues surrounding sexual identity and the boundaries of monogamy, its humor only goes surface deep. For the most part, the endearingly silly plot amounts to little more than sight gags and off-the-wall asides.
  19. The resulting adrenaline-packed vehicle delivers a multi-directional sugar rush. It moves so quickly that the bells and whistles blur together.
  20. 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.
  21. 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.
  22. 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.
  23. One development gets short-shifted: the onslaught of studios drowning out what made the Con so attractive in the first place.
  24. 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.
  25. Like its tattered setting, The Rover is scattered with intriguing ideas never successfully fleshed out.

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