indieWIRE's Scores

  • Movies
For 535 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 15.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 77
Highest review score: 100 Zero Dark Thirty
Lowest review score: 0 In Secret
Score distribution:
  1. Negative: 12 out of 535
535 movie reviews
    • 83 Metascore
    • 91 Critic Score
    Revealing both the dangers and payoffs of artistic ambition, Whiplash is sure to establish Chazelle as a directorial force to be reckoned with.
  1. Singled-handedly carrying the story to its inevitable conclusion, [Wasikowska] gives Tracks a level of depth that nothing else in the movie can provide.
  2. There are moments when Tragos and Palermo run the risk of transforming their subjects into tools exploited for the sake of the movie's artistic vision, but the best part of Rich Hill is that its participants rise above the limitations of the material.
  3. Heinzerling's beautifully shot, painfully intimate look at the aging couple's struggle to survive amid personal and financial strain is both heartbreaking and intricately profound. This is a story about creative desire so strong it hurts.
  4. Produced by Keanu Reeves, this talking heads survey of the transition from shooting on film to digital video is against all odds an imminently watchable overview, and not only because Reeves has decent interview skills.
  5. The climax is a little too clever and far-fetched-an unnecessarily neat finale for a movie that works fine when dealing in broad strokes, some of which are nothing short of masterful.
  6. Ornette isn't just a love letter to the liberty of jazz rhythms; it excels at expressing them.
  7. Taking its time to let the world take shape, Short Term 12 builds to an involving series of mini-climaxes without tidying up every loose end.
  8. At times, Frances Ha strains from emphasizing the characters' snarkiness and disregarding plot. By routinely going nowhere, however, the movie eventually finds a distinctive voice that carries it through.
  9. The central appeal of The Trip is that it's only a comedy in bits and pieces. Overall, however, Winterbottom constructs a thoughtful and generally sad portrait of Coogan's persona as a man unsure of his next move.
  10. Anchored by a funny and especially credible performance by newcomer Miles Teller, Ponsoldt's follow up to his alcoholism portrait "Smashed" has all the hallmarks of a bittersweet teen drama with flashes of realistic comedy on par with "Say Anything" and "The Breakfast Club."
  11. Big Words at times seems like it's heading towards a microbudget version of "Hustle and Flow," but Drumming aims for a much smarter and subdued look at the various regrets and hang-ups haunting men of a certain age. Their blackness is only one piece of the puzzle.
  12. A comedy of remarriage buried in intellectual abstraction and cinephilic obsessions, Certified Copy wanders a bit but never loses focus, with the only certainty being that its gimmick is genuine.
  13. No stranger to crafting excessive anticipation, Reichardt has funneled that skill into thriller clothing. However, like all of her output, nothing is as simple as it looks.
  14. With its bouncy soundtrack, deadpan humor and good-natured disposition, Finnish director Aki Kaurismaki's Le Havre is an endearing affair.
  15. A four-and-a-half hour period piece littered with interconnected events spread across many years, it moves forward with fits of intrigue, interspersed with casual developments that deaden its momentum and call into question its monumental running time.
  16. If nothing else, Blancanieves offers an excellent case for revisiting the early days of cinema -- and for recognizing how much has been lost in its absence. While "The Artist" recalled the silent film industry, Blancanieves solely pays tribute to the art.
  17. Nuri Bilge Ceylan's mesmerizing Once Upon a Time in Anatolia plays like "Zodiac" meets "Police, Adjective."
  18. Mills fashions the set-up for an overwrought, thoroughly depressing character study into an oddly charming comedy. It's a midlife crisis gently portrayed with sympathy rather than grief.
  19. Weekend builds into a powerful encapsulation of an identity crisis over the course of three passionate days.
  20. Greene's patient, understated portrait renders a universal rite of passage in strangely alluring, poetic terms.
  21. Sister may not arrive at a happy ending, but the lack of resolution -- capped off by the powerful last image --completes its journey to a place of rousing emotional clarity.
  22. At times more in line with "Blazing Saddles" than the grimly bawdy qualities that define many bonafide oaters, Django Unchained erupts with a conceptual brilliance from the outset that never fully meshes with its clumsy storyline. Nevertheless, it's a giddy ride.
  23. A stitched-together combo of outlaw energy and bittersweet romance that gives the impression of Little Rascals in the big city. Like the graffiti art it documents, it's a lovingly handmade affair.
  24. Whereas "45365" took the form of a scattered collage, with disconnected events and a vast ensemble of characters stitched together to represent a year of activity, Tchoupitalas brings greater clarity to a similarly diffuse canvas by situating it around a trio of innocent observers.
  25. Upstream Color is routinely confusing but not oppressively so; its final exquisite moments explain little yet still manage to invite you in.
  26. Possibly the best war movie of the year.
  27. Despite its shortcomings, The World's End glistens with a comedic energy not present in equivalent mainstream blockbusters.
  28. Recently released from jail, Ai's full story remains to be told, but Ai Weiwei: Never Sorry competently summarizes his lasting relevance, regardless of what may happen next.
  29. Incredibly heartfelt to a large degree because of its cast.

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