indieWIRE's Scores

  • Movies
For 589 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 14.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 77
Highest review score: 100 Melancholia
Lowest review score: 0 In Secret
Score distribution:
  1. Negative: 12 out of 589
589 movie reviews
  1. Gray's fifth directorial effort is a conflicting experience admirable and powerfully executed in parts, cold and meandering in others.
  2. Slickly paced and carried by mature performances, Flight embodies one of the finer strains of Hollywood filmmaking in recent years.
  3. Like "Afterschool," Durkin's first feature explores the dangerous extremes of youth vulnerability.
  4. The typically great Binoche conveys a tantalizing mixture of confidence and unease as she considers her glamorous past and undetermined future.
  5. Teller's rough, uncomplicated filmmaking style does little to elaborate on Jenison's story, as the subject's unending curiosity singlehandedly carries each scene.
  6. The reality-show aesthetic pervades the movie as well. Garrone's roaming camera style draws you into each moment with extreme close-ups and long takes that wander through each scene and get lost in it. Luciano's plight is crushing because Garrone renders it with such detail.
  7. Suspense is rarely delivered with such distinctive patience.
  8. In the movie's final shot, Jung's confidence crumbles and he looks supremely troubled, still uncertain of a world he once believed could be explained with textual prowess. Better than any analysis, his expression sums up the dangerous method at the heart of every Cronenberg movie.
  9. Where "Bridesmaids" has plenty of solid gags, it's not much to look at; Submarine always has something impressive to watch even when its plot is on autopilot.
  10. Nothing about Dead Man's Burden reeks of homage to oaters of yore -- instead, Moshé has made a legitimate entry in a genre he clearly adores.
  11. Is the Man Who Is Tall Happy? bears the stamp of Gondry quirk but allows it to feel a lot more intimate than anything he's done since "Eternal Sunshine."
  12. While overlong and occasionally too reliant on a formulaic set of motives to drive the action forward, Easy Money retains its suave composure right through the engrossing finale.
  13. Despite the ongoing momentum, Sleepless Night never loses touch with its story.
  14. Edited in a frenzied mashup of concert fragments and off-stage exchanges, The Punk Singer generally overcomes its rough production values by realizing the energy of Hanna's achievements in terms of her passion and physical prowess.
  15. The real triumph of Obvious Child involves its ability to make familiar ingredients work just fine on their own terms. In doing so, it makes up for a lot of lost time in the pantheon of female-centric comedies, and studios would be wise to take note.
  16. Though suffering from dry patches and a fairly mannered approach, The Invisible Woman eventually makes its way to a powerful final third documenting an ultimately tragic romance in deeply felt terms.
  17. The filmmaker's first-rate access feels like a kind of desecration.
  18. While there's a casual dissonance to each twist in its winding plot that results in a disconnected and emotionally vapid experience, Detective Dee unquestionably achieves the escapism it intends.
  19. In constructing its gripping overview, After Tiller maintains a generally straightforward roundup of talking heads, but its unassuming construction gradually generates an authoritative voice. Only once the arguments have been plainly established does the emotion truly take hold.
  20. There's no question about the efficacy of Scorsese's filmmaking prowess, only that he never knows -- or doesn't care -- to slow down and deepen the material.
  21. The scenes pile up with frenetic intensity; as with Soderbergh's other recent exercises in the suspense genre, no single cutaway goes wasted.
  22. Before its spell unravels with overdone theatricality and on-the-nose flashbacks, Caterpillar succeeds as a kind of representational horror movie.
  23. An impressive feat that relies on distraction rather than fancy effects, it's easy to get swept up and forget that it's a very sweaty retread that's been done many times before.
  24. 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.
  25. Omar maintains an unsettling rhythm of suspense and sociopolitical critique throughout.
  26. The result is not a major work, but still a wildly funny portrait that succeeds at inducing the incredulity Morris always seeks out.
  27. Burton's id explodes onto the screen with a plethora of demonic mutated critters.
  28. The beautiful desolation of Bombay Beach makes it difficult to describe as a documentary. Alma Har'el's directorial debut takes a nonfiction setting and displays its haunting qualities in poetic terms.
  29. Computer Chess excels at conveying the frustrations of feeling trapped by forces beyond one's control, the complexities of humanity irresolvable by any neat code.
  30. A Most Wanted Man allows Hoffman to go out with not only one of his best performances, but one that epitomizes his strengths.

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