indieWIRE's Scores

  • Movies
For 651 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 The Raid 2
Lowest review score: 0 In Secret
Score distribution:
  1. Negative: 12 out of 651
651 movie reviews
  1. 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.
  2. 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.
  3. 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.
  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.
    • 71 Metascore
    • 75 Critic Score
    Remote Area Medical lays bare the injustice of a system that fails to provide for those who need it most.
  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. 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.
  9. In a sense, Heartbeats demonstrates that Dolan has a lot on his mind as a budding filmmaker.
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. Helms plays angelic insurance agent Tim Lippe with gentle nobility and hilarious naivete.
  15. Sweetly funny and relatable, Happy Christmas builds on the director's previous work by channeling its strong aspects — naturalism and self-effacing, true-to-life humor — into a relatively straightforward but utterly enjoyable character study.
  16. 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.
  17. Though never entirely the sum of its parts, Party Girl delivers a gentle, somber portrait of the aging process that's consistently believable precisely because not much happens.
  18. Though it lacks a cohesive means of fusing together its interlocking vignettes, Palo Alto effectively showcases the despair and sophomoric rebellion of teen life with a mature eye that clearly establishes a new filmmaker to watch.
  19. Over the course of 106 minutes, Rumsfeld's rambling assertions grow exhausting, particularly because Morris never manages to direct them toward a larger argument.
  20. White Reindeer eagerly pokes the mythology surrounding the holiday season narrative to find something hauntingly beautiful lurking beneath it.
  21. The issue with Post Tenebras Lux is that the narrative, not the filmmaker, feels dispiritedly half-baked.
  22. The cumulative effect is occasionally dizzying but transparent, a frantic attempt to cram themes into cinematic conceit.
  23. Beautiful Darling not only explains the appeal of its subject; it actively contributes to her ongoing mystique.
  24. 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.
  25. 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.
  26. 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.
  27. 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.
  28. He's still cultivating his storytelling abilities, but Wheatley has clearly found his sweet spot: a darkly funny place with serious potential.
  29. Cold-blooded killers rarely look this pathetic, which testifies to the impressive balance of Skarsgård's amusingly low-key performance.

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