indieWIRE's Scores

  • Movies
  • TV
For 804 reviews, this publication has graded:
  • 76% higher than the average critic
  • 2% same as the average critic
  • 22% lower than the average critic
On average, this publication grades 14.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 76
Highest review score: 100 Melancholia
Lowest review score: 0 Pixels
Score distribution:
  1. Negative: 20 out of 804
804 movie reviews
  1. Unable to express the sorrow of Cory's passing or the larger sense of detachment from the world it represents, most of the people in Putty Hill try to remain disaffected. By pestering them with questions, Porterfield gets under their skin - and, in the process, ours as well.
  2. The typically great Binoche conveys a tantalizing mixture of confidence and unease as she considers her glamorous past and undetermined future.
  3. A totally wacky head-trip with midnight movie sensibilities and a daring avant garde spirit, Glazer's movie is ultimately too aimlessly weird to make its trippy narrative fully satisfying, but owes much to Johansson's intense commitment to a strangely erotic and unnerving performance unlike anything she has done before.
  4. A spectacular noir epic that's equal parts murky, bloated, flashy and triumphantly cinematic. Four years after Nolan's "Batman Begins" sequel "The Dark Knight" rattled audiences with a similar audiovisual overload, the new movie falls into the same rhythm and remains viscerally satisfying even when the story falters.
  5. Only Boyle's unstoppable tendency to mouth off sustains the routine plot, but McDonagh pushes the limits of what he can make Gleeson say without making the crude nature of his asides overwhelm their comic potential.
    • 78 Metascore
    • 83 Critic Score
    The director ensures this chamber piece of moral conundrums never seems too heavy-handed; his fluids camera roams through each room so that at no time does the theatrical set-up feel like a limitation.
  6. From one mesmerizing scene to the next, The Tribe never loses its flow. Even its harshest moments are defined by vibrant motion.
  7. Call it a Shakespearean catharsis or just call it a lark -- either way, the movie represents Whedon's least essential work, regardless of the material's inherent comedic inspiration.
  8. Singled-handedly carrying the story to its inevitable conclusion, [Wasikowska] gives Tracks a level of depth that nothing else in the movie can provide.
  9. Miller applies Gerwig to the center of a busy story with simple themes, but it glides along so effortlessly that its reductive qualities barely register. The filmmaker's exceedingly smart screenplay is the real plan, and Gerwig's performance puts it into action.
    • 77 Metascore
    • 83 Critic Score
    Huppert gives a virtuoso performance here — not only because she deftly meets the extreme physical challenges of her role, but by playing Maud with unabashed humor and heart.
    • 77 Metascore
    • 50 Critic Score
    Part road-film, part-gambling excursion, and part-bromance, the film does show the influence of its talented directors. But falters when it comes down the story itself.
  10. As a conversation starter, The World Before Her gets the job done. By virtue of the topic and interviews, Pahuja showcases plenty of tensions between old world values and idealistic goals. That's hardly enough to make its narrative persistently alluring or emotionally sound.
  11. While adhering to an internal logic that makes each punchline land with a satisfying burst of glee, the movie nevertheless stems from genuine fury aimed a broken world. It's the rare storytelling endeavor that manages to be laughably absurd and profoundly tragic at the same time.
  12. Buzzard is among the first great American satires of the 21st century, its scathing indictment of capitalism delivered as a prolonged, disorienting punchline.
  13. The Hunting Ground is at its best when it stops dwelling on variations of the problem and points toward a solution.
  14. It renders a global crisis in strikingly intimate terms.
  15. A Band Called Death lacks the thrill of mystery but makes up for it with pathos.
    • 77 Metascore
    • 83 Critic Score
    Even as it delivers an emotional wallop, not every moment of "Calvary" goes down smoothly, as comedic scenes transition somewhat abruptly to tragic moments and the final reveal never reaches the heights of its Hitchockian inspirations.
  16. A personal work not because the director chooses to make himself a part of the story, but rather because he implicates all of us in it.
  17. Gray's fifth directorial effort is a conflicting experience admirable and powerfully executed in parts, cold and meandering in others.
  18. 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.
  19. 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.
  20. 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.
  21. 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.
  22. You've never seen anything like Chico & Rita, simply because that jubilant palette and likeminded jazz soundtrack embraces its predictability with such vitality.
  23. 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.
  24. With its lethargic pace, Hara Kiri may disappoint more often than it delights, but the payoff is extreme in more ways than one.
  25. 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.
  26. Slickly paced and carried by mature performances, Flight embodies one of the finer strains of Hollywood filmmaking in recent years.

Top Trailers