indieWIRE's Scores

  • Movies
  • TV
For 991 reviews, this publication has graded:
  • 72% higher than the average critic
  • 2% same as the average critic
  • 26% lower than the average critic
On average, this publication grades 12.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 74
Highest review score: 100 7 Boxes
Lowest review score: 0 Mother's Day
Score distribution:
  1. Negative: 44 out of 991
991 movie reviews
  1. 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.
  2. 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.
  3. The filmmakers have instead provided a brilliant window into the impact of the contemporary media circus on public life. While not exactly a figure of sympathy — he lied, after all, more than once — Weiner nevertheless maintains the charisma and drive to provide the movie with one of the most compelling anti-heroes in recent memory.
  4. 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.
  5. Endlessly charming and sneakily wise, Everybody Wants Some!! epitomizes Linklater's unique ability to magnify human behavior with levity.
  6. By sprinting through 50 years of features so fast that each of them ultimately feels like a single frame rattling through a projector, they blur De Palma’s body of work into a moving truth that none of his individual films has ever crystallized with such clarity: The movies are real-life; the great filmmakers are the ones who never let you forget that.
  7. Indignation doesn’t break any fresh ground, and at times plays more like a series of engaging moments than a cohesive whole, but its craftsmanship is impeccable.
  8. '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.
  9. 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.
  10. The Witch becomes a focused portrait of fixed rituals crumbling in the face of inexplicable forces, evoking the fear of change lurking in the shadows at every moment. Despite the setting, its scares are uniquely contemporary.
  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. Sheil is an ideal vessel for the film's inquisitive style.
  19. 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.
  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. Despite the cerebral formalism that pushes it forward, Mond has made a genuine tearjerker.
  22. 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.
  23. Creed does justice to its roots while trying something new.
  24. 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.
  25. While fairly straightforward in its attempts to galvanize viewers around efforts to combat the disease, Gleason hits those familiar marks with superb aim.
  26. Ornette isn't just a love letter to the liberty of jazz rhythms; it excels at expressing them.
  27. Grounded in lively performances by Chris Pine and Ben Foster as a pair of bank-robbing brothers, with a capable assist from a no-nonsense Jeff Bridges as the sheriff on their tail, Hell or High Water tries nothing new but delivers a fun ride.
  28. Brilliantly combining archival material, voiceovers, contemporary interviews and a variety of hand-drawn animation, the movie deconstructs the process of self-mythologizing from the inside out.
  29. 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.
  30. Though at times almost too peculiar for its own good, The Lobster brings Lanthimos' distinct blend of morbid, deadpan humor and surrealism to a broader canvas without compromising his ability to deliver another thematically rich provocation.

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