indieWIRE's Scores

  • Movies
For 598 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 Melancholia
Lowest review score: 0 In Secret
Score distribution:
  1. Negative: 12 out of 598
598 movie reviews
  1. 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.
  2. Boone’s unobtrusive style takes cues from the subdued nature of the material, but there’s little about the movie that makes the filmmaking stand out. Instead, it derives its chief strengths from a series of efforts to take the drama seriously, mainly embodied by Woodley’s onscreen investment in it.
  3. He's still cultivating his storytelling abilities, but Wheatley has clearly found his sweet spot: a darkly funny place with serious potential.
  4. Cold-blooded killers rarely look this pathetic, which testifies to the impressive balance of Skarsgård's amusingly low-key performance.
  5. 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.
  6. 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.
  7. 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.
  8. Wan seems to critique the third act failings of The Conjuring during the alarmingly superior first half.
  9. 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.
    • 68 Metascore
    • 83 Critic Score
    In telling his story, Amalric is greatly aided by his ace cinematographer, Christophe Beaucarne, whose images pick up on a great many tiny but telling details, as if life were a mosaic composed of an almost infinite number of parts that are all equally important for the bigger picture.
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. 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.
  15. By its later scenes, Chef only finds respite from its bland qualities through the scrumptious-looking dishes constantly on display. As self-indulgent vanity projects go, this one's pretty innocuous, if only because it's always easy on the eyes.
  16. The whole experience is one long rant in radiant colors.
    • 68 Metascore
    • 67 Critic Score
    Amini's directorial debut is a quiet and graceful achievement that suffers from a number of shortcomings but still works on its own terms.


  17. The story arrives at a satisfying emotional conclusion with wonderfully thoughtful ramifications.
  18. 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.
  19. Nathan never condescends to Pug or his cohorts, instead smartly allowing their brazen maneuvers to run the show.
  20. 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.
  21. 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.
    • 68 Metascore
    • 91 Critic Score
    Whishaw's sensitive performance gives Lilting its emotional intensity.
    • 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.
  22. 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.
  23. 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.
    • 67 Metascore
    • 67 Critic Score
    Whether it's purely through the use of music or through the individual, attentive care given by some of the featured nursing home workers, the proof of positive changes presented in "Alive Inside" provide a sense of idealism amid bleak situations.
  24. 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.

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