indieWIRE's Scores

  • Movies
For 535 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 15.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 77
Highest review score: 100 The Tiniest Place
Lowest review score: 0 In Secret
Score distribution:
  1. Negative: 12 out of 535
535 movie reviews
  1. Unquestionably stands above the market standard for middlebrow comedies, but it repeatedly approaches greatness and stands down, beholden to forces quite possibly beyond the directors' control.
  2. By virtue of its style and high stakes scenario, End of Watch is impressively tense, but then so are most episodes of "COPS," which don't suffer from the forced melodrama found here.
  3. It's impossible to look away -- not only because the sense of anticipation is so vivid, but because there's no other way to follow the bizarre plot than keep with it.
  4. Potiche successfully satirizes the gender politics at its core. At the same time, it knowingly mocks the obsession over debates about the suppression of women that pervaded the culture during the movie's setting.
  5. Wan seems to critique the third act failings of The Conjuring during the alarmingly superior first half.
  6. As slickly paced as a big-studio espionage movie, it nearly succeeds as a pure adrenaline-rush thriller. In the end, the problem isn't that there's too much plot, but rather a certain dramatic illogic.
  7. It's a movie that must be seen, processed and discussed, perhaps the first of its kind to transform the audience into a focus group.
  8. To Die Like a Man deserves your attention for showcasing a filmmaker with the capacity for bold narrative trickery that doesn't come at the expense of emotional investment.
  9. Given the saturation of the found footage horror genre, Cordero's approach delivers a much shrewder alternative that goes beyond the power of suggestion by rooting its otherworldly fears in authenticity.
  10. Small touches point to a slightly better movie hiding beneath most of the routine, particularly the respectable finale that stops just short of the clichéd resolution expected of it. On the whole, however, The Way, Way Back dances to a tune we've heard too many times before.
  11. The whole experience is one long rant in radiant colors.
  12. That the movie succeeds both as a high-stakes crime thriller as well as a far quieter and empathetic study of angry, solitary men proves that Cianfrance has a penchant for bold storytelling and an eye for performances to carry it through.
  13. Nathan never condescends to Pug or his cohorts, instead smartly allowing their brazen maneuvers to run the show.
  14. Although Madsen's survey of warning strategies has an aimless structure prone to repetition, he creates an effective mood that transcends his time-travel gimmick and eventually becomes topical.
    • 67 Metascore
    • 83 Critic Score
    Even if the film doesn't leave much to ponder past the closing credits, it's enjoyable while it's unfolding, doing justice to the strengths of Shelton's ever-expanding filmography.
  15. Robot and Frank succeeds where "Ted" fails because, unlike McFarlane, Schreier and Ford render the relationship between the human character and the robot in largely credible terms.
  16. Elevate nails the mission, but not the message.
    • 67 Metascore
    • 83 Critic Score
    Rises above the over-tired gross-out comedy genre partly because of its meta celebrities-parodying-themselves trick, but it mostly stands out because it's genuinely funny.
  17. The director's murky, ill-conceived take on the world's oldest disaster story contains some of the most pristine visuals produced on a mass studio scale in some time. But it's also constantly tethered to a dull, melodramatic series of events out of whack with any traditional interpretation of the material.
  18. The closest Brügger comes to explaining his style is an early statement on the duality of his mission to go "beyond all moral boundaries known to man while still being a respectable member of society." It's a goal enacted less with a coy wink than with a violent elbow jab to the ribs.
  19. Pummeling forward from its first diner-set fight scene to a sweeping final showdown on the beach, Haywire is a literal blast.
  20. Leave it to Walken to upstage Beethoven.
  21. The title suggests a dramatic Shakespearean twist, but Clooney's aims are much simpler. As he builds to a western showdown divorced from political specificity, the Manchurian-like manipulation turns Ides of March into an allegorical monster movie in which everyone's competing for the role of the monster and most people can't see it.
  22. Smart in spite of its irreverence, "Future Folk" is the weirdest, most enjoyable fusion of genres you'll see this year.
  23. Can actors save a mediocre movie? In London River, they come close. Blethyn's frantic, sad naivete creates a fascinating contrast to Kouyaté's understated performance.
  24. Marred by excessive sentiment, it has a buoyancy and a hook that makes it stand out -- but they're elements that would help it kill on Broadway (as it already has on the Australian stage) a lot better than it does onscreen.
    • 67 Metascore
    • 91 Critic Score
    Alan Partridge stays true to this small, very specific world of regional British radio and this class of local celebrity while also injecting the high-level drama needed to carry such a story to a much larger audience. It’s this balance that should win the film over for Alan Partridge fans and the general movie-going public alike.
  25. By favoring mood over plot, "Myth" explores what it feels like to transition into youth adulthood and face harsher truths.
  26. Crystal Fairy has little to say beyond Cera's capacity to transform into an amazingly uncomfortable screen presence, something we already knew.
  27. It's incredibly uneventful and devastating all at once.

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