indieWIRE's Scores

  • Movies
For 702 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 14.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 76
Highest review score: 100 The Overnighters
Lowest review score: 0 In Secret
Score distribution:
  1. Negative: 15 out of 702
702 movie reviews
  1. I had to see the new version twice to realize that there's so much to appreciate about this multilayered production.
  2. As with "Shotgun Stories," Nichols assembles a tense portrait of blue-collar life, while deepening his thematic interests and working on a bigger scale. Burrowing into the subconscious of a damaged man, he delivers a modern American epic with extraordinary restraint.
  3. Farhadi's new movie confirms his unique ability to explore how constant chatter and anguished outbursts obscure the capacity for honest communication.
  4. More meditation than movie, Terrence Malick's The Tree of Life is bound to mystify, awe and exasperate in equal measures.
  5. Reichardt crafts a highly textured narrative that both invokes the mythology of the American frontier and cleverly transcends it.
  6. Fruitvale is largely sustained by Jordan's career-making performance and the way Coogler uses it to analyze his subject...It's a fascinating investigation into the contrast between media perception and intimate truths.
  7. There's no doubting that Holy Motors is an ungodly mess of images and moments, some more alluring than others, but it sure leaves a mark.
  8. Even when that story drags, Moonrise Kingdom could be appreciated on mute.
  9. Unapologetically long and messy, Snowpiercer offers an unhinged ride that's worth the investment for its mixture of batty personalities, consistently impressive visuals and mad swipes at heavy symbolism jam-packed together.
  10. There's a adrenaline rush even in the problematic finish, an eagerness that drives the filmmaking so that Looper is thrilling to watch even when it falls apart.
  11. With a keen eye for the capacity of fine art to address a complex range of attitudes and experiences, Museum Hours effectively applies Cohen's existing strengths to a familiar scenario and rejuvenates it by delivering a powerfully contemplative look at the transformative ability of all art.
  12. Despite the cerebral formalism that pushes it forward, Mond has made a genuine tearjerker.
  13. The Descendants constantly hovers on the brink of a dark comedy. But it never takes the big plug. By treading carefully, Payne has created his warmest, most earnest work, if not his best.
  14. The narrative only really stumbles because its tone never manages to convince on the level that McConaughey's performance eventually does. With its subdued approach, Dallas Buyers Club stops just short of an emotional payoff.
  15. The movie makes a strong case against the captivity of killer whales under sub-circus conditions, but the stance is made even more horrifying because so little has changed in the history of the organization. Blackfish is less balanced investigation than full-on takedown of a broken system.
  16. On the whole, by ceding control to his subject, Hawke makes a persuasive case for Bernstein's guru-like outlook on the value of finding personal gratification in art above all else.
  17. The movie works best when probing the nature of human interactions with Nim: He appears to form a close friendship with the stoner psych major Bob Ingersoll, not only foraging for food with him but also sharing joints.
  18. Xavier Dolan's I Killed My Mother marks the emergence of an exciting new filmmaking talent. The Montreal actor, a mere 20 years old, displays a startlingly mature perspective on human behavior in his triple threat position as writer-director-star.
  19. The grim subtext of The Wind Rises goes largely unacknowledged, leading to a gaping hole in this otherwise beautifully realized narrative that celebrates the power of curiosity as a motivating force.
  20. '71
    '71 constantly thrills without sensationalizing its surprises. The war-is-hell ethos drives it forward, so that the movie retains its suspense in conjunction with its dour outlook.
  21. Pina is a beautiful, heartfelt ode and a delicious feast for the eyes, but not an essential work of art on its own terms.
  22. It's hard to imagine Captain Phillips in the hands of any other filmmaker -- and Captain Phillips in the hands of Greengrass looks exactly like anyone familiar with his work would expect. It does justice to the material even while playing too conscientiously by the book.
  23. Maintains a funny and sad focus on its single petulant subject.
  24. Though slow-going for much of its running time, Arbor's delicate tale culminates with a frighteningly choreographed tragedy, but tacks on a beautifully evocative and mostly wordless epilogue that carries the semblance of progress.
  25. 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.
  26. No matter its conceptual intentions, It Follows never ventures too far from visceral horror. Mitchell populates a number of scenes with well-timed jump scares as the being frequently bursts out of the shadows or appears in unexpected forms, while the score provides a screaming punctuation mark.
  27. Love & Mercy is an engrossing portrait of Wilson's specific artistic inclinations, which draw from no real precedent.
  28. 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.
  29. Ornette isn't just a love letter to the liberty of jazz rhythms; it excels at expressing them.
  30. 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.

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