indieWIRE's Scores

  • Movies
  • TV
For 733 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 Green Room
Lowest review score: 0 In Secret
Score distribution:
  1. Negative: 15 out of 733
733 movie reviews
  1. The extensive two-hour running time only slightly hinders a simultaneously amusing and powerful encapsulation of Brand's journey from outrageous provocateur to enlightened zealot preaching for social change.
  2. Moors isolates a well-known drama with the fleeting nonfiction prologue and explores it from the inside out: It's not an attempted reenactment, but it does aim to get at certain truths.
  3. While the documentary's structure is somewhat uneven, its protagonists remain fascinating subjects whose recollections — along with backstories fleshed out by their wives and parents — include revelations of much greater challenges than the movie itself.
  4. While not his best work, Like Someone in Love is a nimble expression of Kiarostami's appeal: He remains one of the few directors capable of pulling you into a narrative and making you question its motives at every turn.
  5. Showing the uneasiness of a first-time documentarian, Rapaport has a difficult time exploring the drama. That has extended beyond the movie itself and into a long-running media dispute with Q-Tip, who has refused to plug the movie.
  6. You've never seen anything like Chico & Rita, simply because that jubilant palette and likeminded jazz soundtrack embraces its predictability with such vitality.
  7. Paul's increasingly hectic attempts to retrieve the book dominate the movie so heavily that it leaves little room for considering how this effort fits into the rest of his world.
  8. With its lethargic pace, Hara Kiri may disappoint more often than it delights, but the payoff is extreme in more ways than one.
    • 76 Metascore
    • 100 Critic Score
    Despite the formulaic setup, "People, Places and Things" benefits from first-rate writing and stellar performances.
  9. Buck Brannaman, the subject of Cindy Meehl's engaging documentary profile Buck, has a warm presence and knows how to tame horses better than anyone else.
  10. Slickly paced and carried by mature performances, Flight embodies one of the finer strains of Hollywood filmmaking in recent years.
    • 76 Metascore
    • 67 Critic Score
    Dope provokes a discussion about the dichotomy between societal expectations of the race-defined self, as well as the democratic American right to be who you want to be — but it's an unfocused and tangential one, limited by the trappings of comedy and the flash of the hip-hop aesthetic.
  11. Like "Afterschool," Durkin's first feature explores the dangerous extremes of youth vulnerability.
  12. 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.
  13. Witherspoon excels as a committed figure battling through each rough day. So long as the action remains on the trail, Vallée stages an engaging survivalist tale that plays up the resolve on Witherspoon's face, complemented with the rich visuals of an expansive landscape.
    • 76 Metascore
    • 91 Critic Score
    Like its central character, Listen Up Philip exudes a kind of highbrow affectation that charms more than it alienates.
  14. 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.
  15. Teller's rough, uncomplicated filmmaking style does little to elaborate on Jenison's story, as the subject's unending curiosity singlehandedly carries each scene.
  16. 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.
  17. Suspense is rarely delivered with such distinctive patience.
  18. Though the special effects win the day, Guardians of the Galaxy holds court with a sense of humor that transcends its more familiar ingredients.
  19. 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.
  20. Though hardly a singular achievement on par with its precedents in the filmmaker's career, Results shows the first indication of Bujalski's ability to tell stories on a larger scale.
  21. 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.
  22. 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.
  23. 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."
  24. Though more in love with its silliness than the insights buried inside them, Frank works to amusingly irreverent effect when combining the two.
  25. 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.
  26. Despite the ongoing momentum, Sleepless Night never loses touch with its story.
  27. 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.

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