For 90 reviews, this critic has graded:
  • 37% higher than the average critic
  • 11% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 2.6 points lower than other critics. (0-100 point scale)

Ross McIndoe's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 88 Mistress Dispeller
Lowest review score: 25 Ricky Stanicky
Score distribution:
  1. Positive: 61 out of 90
  2. Negative: 14 out of 90
90 movie reviews
    • 51 Metascore
    • 63 Ross McIndoe
    The film is lean, mean, and feisty, even if it doesn’t quite stick the landing.
    • 56 Metascore
    • 75 Ross McIndoe
    The film is a witchy mall comedy that mostly keeps you under its spell.
    • 71 Metascore
    • 75 Ross McIndoe
    While it isn’t an overt examination of it in the manner of The Moment, the film does feel like a natural cinematic extension of Charli XCX’s melancholy party-girl persona.
    • 65 Metascore
    • 63 Ross McIndoe
    Nuisance Bear is at its most powerful when its message has been condensed down into a single image.
    • 80 Metascore
    • 75 Ross McIndoe
    With so many engaging voices on offer, Suzannah Herbert wisely chooses to let the locals tell the story rather than providing any explicit narration of her own.
    • 74 Metascore
    • 75 Ross McIndoe
    Sam Green’s documentary has a knack for finding moments where we can feel the broad sweep of a supercentenarian lifespan, condensed down into a single, everyday occurrence.
    • 81 Metascore
    • 88 Ross McIndoe
    The film is sensitively attuned to how people’s feelings are shaped by cultural norms.
    • 80 Metascore
    • 88 Ross McIndoe
    The film pokes fun at the conventions of detective stories but never becomes so self-aware that you stop taking it seriously.
    • 67 Metascore
    • 75 Ross McIndoe
    Every segment passes the basic scary-movie smell test of showing you something that you haven’t seen before, and that includes a truly depraved death involving a large quantity of gumballs.
    • 70 Metascore
    • 75 Ross McIndoe
    The film effortlessly melds its sadcom properties with more predictable rom-com traditions.
    • tbd Metascore
    • 75 Ross McIndoe
    A Samurai in Time isn’t just having fun with fake swords and chonmage wigs, as it also provides a lot of gentle reflections about history, modernity, and our place in it all.
    • 74 Metascore
    • 75 Ross McIndoe
    40 Acres continually finds clever ways to either subvert familiar story beats or to make them land with extra impact.
    • 70 Metascore
    • 75 Ross McIndoe
    Charles Williams’s feature-length directorial debut, Inside, centers on a trio of dangerous men who are forced into each other’s orbit, leading to an outcome that’s both violently chaotic and tragically predictable.
    • 55 Metascore
    • 75 Ross McIndoe
    Eli Craig’s film works precisely because it plays things straight.
    • 54 Metascore
    • 63 Ross McIndoe
    The first film was divided against itself—half a typically broad Paul Feig comedy, half imitation Gone Girl—and the sequel doesn’t fare much better as a genuine thriller.
    • 47 Metascore
    • 63 Ross McIndoe
    The film is far from original, but it successfully translates game logic to the big screen.
    • 69 Metascore
    • 63 Ross McIndoe
    The film’s strength is that it knows how to keep things moving.
    • tbd Metascore
    • 63 Ross McIndoe
    McVeigh’s ominous atmosphere is omnipresent, clinging to Timothy like a dog to a bone.
    • 71 Metascore
    • 63 Ross McIndoe
    It has its very powerful moments, but the oddly linear, untroubled journey of its two main characters robs the film of some of its emotional authenticity.
    • tbd Metascore
    • 75 Ross McIndoe
    Ed Harris and Jessica Lange electrifyingly bring so many of their characters’ emotions to the surface, even as they convey that James and Mary are burying so much more beneath it.
    • 67 Metascore
    • 63 Ross McIndoe
    When The Surfer does break out of the sun-addled fugue state that marks its midsection, it delivers a gonzo finale that lets Nicolas Cage rev himself up into his most manic, meme-able self.
    • 65 Metascore
    • 75 Ross McIndoe
    The film is full of little moments that speak clearly to the particularities of father-son bonds.
    • 83 Metascore
    • 88 Ross McIndoe
    Geeta Gandbhir’s trenchant documentary takes incendiary material and aims it at a larger target.
    • 65 Metascore
    • 75 Ross McIndoe
    While it’s never didactic or heavy-handed about its messaging, Paddington in Peru also offers an idea of Britishness that’s multifaceted and modern.
    • 74 Metascore
    • 63 Ross McIndoe
    The film is most interesting when observing the subtler power dynamics at play within frats.
    • 62 Metascore
    • 75 Ross McIndoe
    In many ways, the film feels like a micro-budget rendition of Tenet, as our heroes discover that they’ve been caught in a “vice-grip” between past and future that functions much like that film’s famous “temporal pincer.”
    • 56 Metascore
    • 63 Ross McIndoe
    The camera, the cuts, the needle drops, and story twists all contribute to the feeling of a machine that’s spinning faster and faster until finally it careens right out of control.
    • 72 Metascore
    • 75 Ross McIndoe
    With The Outrun’s neat but poignant metaphor work in mind, mental illness and addiction are understood as natural responses to the conditions of a ravaged life.
    • 80 Metascore
    • 75 Ross McIndoe
    Strange Darling is a cunningly devised thriller that wields our assumptions against us like a sharp implement, delighting in making us squirm.
    • 83 Metascore
    • 75 Ross McIndoe
    Blue Sun Palace’s tale is filled with quiet spaces, and the way the texture of this quiet changes over the course of the film is a testament to its power.

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