indieWIRE's Scores

  • Movies
For 651 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 14.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 76
Highest review score: 100 Leviathan
Lowest review score: 0 In Secret
Score distribution:
  1. Negative: 12 out of 651
651 movie reviews
  1. 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.
  2. Even when that story drags, Moonrise Kingdom could be appreciated on mute.
  3. 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.
  4. While it doesn't always earn its heft, Winter Sleep is both subdued and rich in details, its plot growing slowly over a series of extensive conversations. It's a robust, challenging experience he's been building toward with his previous features, as well as an adventurous step above them.
  5. 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.
  6. 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.
  7. 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.
  8. While We're Young is a clear-eyed satire of intergenerational tension that derives much of its comedy from a series of moments in which its mid-forties couple attempt to mesh with a younger crowder.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. Pina is a beautiful, heartfelt ode and a delicious feast for the eyes, but not an essential work of art on its own terms.
  15. 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.
  16. Maintains a funny and sad focus on its single petulant subject.
  17. 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.
  18. Love Is Strange is a sophisticated take on contemporary urbanity infused with romantic ideals and the tragedy of their dissolution.
  19. Love & Mercy is an engrossing portrait of Wilson's specific artistic inclinations, which draw from no real precedent.
  20. 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.
  21. 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.
  22. 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.
  23. Ornette isn't just a love letter to the liberty of jazz rhythms; it excels at expressing them.
  24. 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.
  25. 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.
  26. 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.
  27. 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."
  28. 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.
  29. 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.
  30. With its bouncy soundtrack, deadpan humor and good-natured disposition, Finnish director Aki Kaurismaki's Le Havre is an endearing affair.

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