indieWIRE's Scores

  • Movies
  • TV
For 767 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 14.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 76
Highest review score: 100 Manakamana
Lowest review score: 0 Pixels
Score distribution:
  1. Negative: 19 out of 767
767 movie reviews
  1. Though more in love with its silliness than the insights buried inside them, Frank works to amusingly irreverent effect when combining the two.
  2. 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.
    • 75 Metascore
    • 75 Critic Score
    Away from the confessions that induce shock and the divulgences that elicit sympathy, Garbus leaves ample space for lengthy sequences of Simone's performances.
  3. Despite the ongoing momentum, Sleepless Night never loses touch with its story.
  4. 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.
    • 75 Metascore
    • 58 Critic Score
    While The Trip to Italy offers all the pleasures of a posh holiday accompanied by two of the most inventive comedians today, the improvisation here lacks the total unexpectedness that the first enjoyed.
  5. For Godard junkies Goodbye to Language is rich with Godard's temperament—and thus an enjoyable provocation, even if it doesn't all add up. But what Godard movie truly does?
  6. 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.
  7. 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.
  8. With its luscious 35mm photography and playful depiction of passionate lovers reaching a breaking point, the swift 72-minute drama delivers a satisfying riff on moody, intimate material Garrel has mined to richer effect many times before.
  9. 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.
  10. 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.
  11. Despite the mixture of vérité footage and home movies showing the Angulos in their apartment, The Wolfpack feels more in line with a form of ethnographic storytelling than anything else, because the story is told exclusively in terms of their relationship to it.
  12. 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.
  13. There are moments when Tragos and Palermo run the risk of transforming their subjects into tools exploited for the sake of the movie's artistic vision, but the best part of Rich Hill is that its participants rise above the limitations of the material.
  14. The scenes pile up with frenetic intensity; as with Soderbergh's other recent exercises in the suspense genre, no single cutaway goes wasted.
  15. Before its spell unravels with overdone theatricality and on-the-nose flashbacks, Caterpillar succeeds as a kind of representational horror movie.
  16. With time, the filmmaker achieves a small miracle by stringing together the movie's concise segments into an emotional whole.
  17. 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.
    • 75 Metascore
    • 67 Critic Score
    Brooklyn showcases a number of appealing ingredients, but ultimately lacks an adequate story to prop them up.
  18. Omar maintains an unsettling rhythm of suspense and sociopolitical critique throughout.
  19. Rogue Nation plays out like a sufficient rejigging of the same variables tossed around many times before, which is just enough to both celebrate the material and demonstrate its limitations.
  20. Judging by Johnson's previous feature, "True Adolescence," he's better at crafting characters with credible problems than finding equally credible ways of exploring them. Fortunately, in the case of Skeleton Twins, the actors do the legwork.
  21. The filmmaker's first-rate access feels like a kind of desecration.
  22. The result is not a major work, but still a wildly funny portrait that succeeds at inducing the incredulity Morris always seeks out.
  23. Burton's id explodes onto the screen with a plethora of demonic mutated critters.
    • 74 Metascore
    • 100 Critic Score
    Poignant without being melodramatic, overflowing with unforced charm, Me and Earl and the Dying Girl holds a unique appeal that's certain to last.
  24. 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.
  25. 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.
  26. Cheatin' is gleefully enjoyable and loaded with unexpected twists at every turn.

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