indieWIRE's Scores

  • Movies
For 535 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 15.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 77
Highest review score: 100 Zero Dark Thirty
Lowest review score: 0 In Secret
Score distribution:
  1. Negative: 12 out of 535
535 movie reviews
  1. Sleepwalk With Me calls to mind Judd Apatow's "Funny People" for its focus on the eccentric, obsessive nature of the wannabe comic's mind.
  2. Padilha channeled national frustrations into zeitgeist entertainment. The follow-up, Elite Squad: The Enemy Within, has less success than the first installment in achieving that aim, but still keeps the snazzy combination of spectacle and polemics in check.
  3. A gigantic physique hides the fragile man beneath and Matthiesen ably follows the journey of that persona as it tunnels through mounds of muscle to reach the surface. In essence, the lion finds his courage.
  4. In Sundance terms, Like Crazy qualifies as this year's "Blue Valentine," but it's more observational about the details of a doomed relationship than relentlessly bleak like the aforementioned Derek Cianfrance movie.
  5. The measured vérité style of Frederick Wiseman meets the visual polish of Terrence Malick in Dragonslayer, a fascinating slice of crude Americana from first-time director Tristan Patterson. However, it stands alone with an infectious hard rock attitude.
  6. Swanberg once again shows a capacity for capturing small moments that exist outside the direction of the plot. At the same time, the effective fragments of "Drinking Buddies" take his oeuvre in a new direction by accumulating into a reworking big picture.
  7. You couldn't ask for a more appropriate genre of music to carry a movie. As Didier explains the bluegrass appeal, "the banjo sort of snarls," bringing a primal form of energy that even he can't put into words. It's also the element that manages to rescue "Broken Circle" from the meandering nature of its structural looseness, which sometimes distracts from a thoroughly involving story.
  8. The story arrives at a satisfying emotional conclusion with wonderfully thoughtful ramifications.
  9. Subtitled "a musical adventure," the actor-director's love letter to some 800 years of Neapolitan expression probes its subject with a wide romantic outlook.
  10. Make no mistake: Mickle wants to make you jump and scream, but death only arrives in this movie once its world comes to life, which makes each sudden turn all the more intense.
  11. In a sense, Heartbeats demonstrates that Dolan has a lot on his mind as a budding filmmaker.
  12. The Spanish auteur has a good time with outrageous plot twists and offbeat sexual intrigue. However, Almodóvar appears unmotivated to even try holding it all together. Instead, he lets the mess pile up and enjoys it.
  13. Though more in love with its silliness than the insights buried inside them, Frank works to amusingly irreverent effect when combining the two.
  14. Rampart is co-written by crime writer James Ellroy as a messy, disorienting noir, and shot by cinematographer Bobby Bukowski with an unsettling degree of realism.
  15. With its palatial setting, Borgman shows how money can buy luxury, but it can't salvage the corruption that comes from within.
  16. While visually scrumptious, the movie struggles to reach a greater profundity that it never quite obtains, but its childlike emulation of a grand tragedy is indelibly precious.
  17. The Safdies have stood out over the last few years for continually challenging audience expectations even while seeming to adhere to conventional storytelling traditions, and that's certainly true here: You've never seen a sports movie like this before.
  18. Bogged down by flashbacks and flash forwards, The Bastards pointlessly mixes up its ingredients, creating a distancing effect from the tangible sadness at its core. The result is the rare case of a movie that confirms its maker's skill while wasting it on useless ambition.
  19. It's a showcase of proficient storytelling that's eager to entertain.
  20. Helms plays angelic insurance agent Tim Lippe with gentle nobility and hilarious naivete.
  21. In Another Country is a paragon of any given Hong movie's intrinsic charms, and yet it also manages to break from the pattern by including an English-speaking character as one of its leads.
  22. Treasuring small victories and mood above all else, Land Ho! makes it possible to engage with its subjects' pathos and experience their sense of renewal along with them.
  23. Over the course of 106 minutes, Rumsfeld's rambling assertions grow exhausting, particularly because Morris never manages to direct them toward a larger argument.
  24. White Reindeer eagerly pokes the mythology surrounding the holiday season narrative to find something hauntingly beautiful lurking beneath it.
  25. The issue with Post Tenebras Lux is that the narrative, not the filmmaker, feels dispiritedly half-baked.
  26. The cumulative effect is occasionally dizzying but transparent, a frantic attempt to cram themes into cinematic conceit.
  27. Beautiful Darling not only explains the appeal of its subject; it actively contributes to her ongoing mystique.
  28. A viscerally charged movie that foregrounds surface tensions and gripping performances, Ginger and Rosa is the filmmaker's most accessible and technically surefooted work to date.
  29. He's still cultivating his storytelling abilities, but Wheatley has clearly found his sweet spot: a darkly funny place with serious potential.
  30. Cold-blooded killers rarely look this pathetic, which testifies to the impressive balance of Skarsgård's amusingly low-key performance.

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