indieWIRE's Scores

  • Movies
For 640 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 14.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 76
Highest review score: 100 Point and Shoot
Lowest review score: 0 In Secret
Score distribution:
  1. Negative: 12 out of 640
640 movie reviews
  1. Post Mortem portrays the specter of dictatorship through the lens of one man's private hell.
  2. Duplass' feisty energy is matched by DeWitt's constant smarminess, while Blunt's shy, fragile behavior balances off the forceful personalities surrounding her.
    • 72 Metascore
    • 75 Critic Score
    Knappenberger has delivered a film brimming with outrage, whose zeal becomes persuasive once Swartz takes on his activist mantle.
    • 72 Metascore
    • 75 Critic Score
    While Wigon's film lacks emotional weight, that deficiency is not a matter of style over substance, but an effective comment on the peculiarly isolating nature of modern communication technology.
  3. Jacobs, working from a script by Patrick de Witt, takes a conventional coming-of-age story and does it proud, enlivening the plot with an almost experimental portrait of alienation and despair.
  4. Barker's screenplay demonstrates a conviction that its genre can command great importance, allowing it to transcend the easy shocks associated with the exploitation movie experience and create an entirely fresh rhythm.
  5. Like a gesture from the rapper acknowledging his crowd, "Time Is Illmatic" is competent bait for Nas fans that leaves the door open just wide enough for newcomers to appreciate the fuss from afar.
  6. Progressing with a coldly observational pace, Rapt often strains its drawn-out structure, creating a lethargic experience despite essentially taking the form of a Bressonian suspense-thriller.
  7. At its core, The Double Hour is a classic noir story of deception.
    • 71 Metascore
    • 83 Critic Score
    Fed Up is a glossy package that gets its warnings across loud and clear: we need to change what we eat.
  8. Winstead's performance provides a trenchant wakeup call even when the movie can't keep pace.
    • 71 Metascore
    • 67 Critic Score
    It's a reserved, almost conservative performance, and in holding so much back so much of the time, Cumberbatch makes his few outward displays of emotion far more impactful.
    • 71 Metascore
    • 100 Critic Score
    If The Raid: Redemption was a thrashing drum solo, its sequel is the opulent symphony where every instrument is played with fevered inspiration.
  9. No matter its silliest missteps, Welcome to New York has an impressive engine of ideas in line with the director's other New York stories.
  10. Despite its predictably cheery vibe, Being Elmo implies a certain darkness lingering beneath the surface of Clash's life.
  11. 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?
  12. Unlike recent activist documentaries about animal cruelty like "The Cove," Leeman's narrative doesn't feature any real villains. Balding's bond with Flora leaves him in a perpetual state of uncertainty about which possible new home for his elephant would provide the safest habitat.
  13. For everything that Mozart's Sister imagines, it leaves much more up to imagination.
  14. Edge of Tomorrow is slick, but once its fancy plot dressing takes form, it has little more to offer aside from a few impressive action sequences and the infallible grin of its nimble lead.
  15. Recording "Body and Soul" with Bennet only a short period before her death, Winehouse's simultaneously effusive presence not only illustrates her fragility but stands in sharp contrast to the stable work ethic that Bennett has cultivated over the course of his 60-year career.
  16. Black Death embraces its horror roots with ample bloodshed, at which point the silly costumes and anachronistic dialogue no longer seem so absurd.
    • 71 Metascore
    • 100 Critic Score
    Fiennes wisely stays out of his way here. Zizek is the star, edited down to digestible elements, with archival footage used adroitly to drive his arguments home.
  17. With self destruction as destiny, Reitman has made the equivalent of a Roland Emmerich disaster movie writ small, an apocalyptic scenario internalized by a single person.
  18. Though Get On Up never congeals into a satisfactory whole, its fragmentary portrait of the singer at the height of his fame — intercut with his troubled single-parent childhood — effectively shows his invasive power in popular culture.
  19. While not designed to entertain on the level of style and spectacle that one expects from a Bond film, this tense period drama from the director of "Man on Wire" presents a far more credible take on the daring exploits of British agents.
  20. 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.
  21. 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.
  22. Di Stefano's memorable debut feature makes up for its lack of sophistication with constant forward motion.
  23. 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.
  24. 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.

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