IndieWire's Scores

Select another publication »
For 5,163 reviews, this publication has graded:
  • 59% higher than the average critic
  • 3% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 4.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 69
Highest review score: 100 The Only Living Pickpocket in New York
Lowest review score: 0 Pixels
Score distribution:
  1. Positive: 3,565 out of 5163
  2. Mixed: 1,332 out of 5163
  3. Negative: 266 out of 5163
5163 movie reviews
view
per page
  1. Despicable Me 3
    The whiz-bang joy of the first film is wholly absent, and Despicable Me 3 limps along for nearly an hour before finding its footing.
  2. Tubelight
    Where “Bajrangi” effectively harnessed the actor’s mega-star persona into a simple character that still — in true Salman tradition — had a significant moral undertone, Tubelight struggles to strike that balance, too often veering into naivety and exaggeration both in terms of performance and narrative.
  3. War for the Planet of the Apes
    With War for the Planet of the Apes, technological wizardry and first-rate storytelling combine into a bracing action-adventure that concludes the best science fiction trilogy since the original trio of “Star Wars” movies.
  4. Person to Person
    Shot in beautifully textured 16mm and told at an unhurried pace, Person to Person requires some getting used to, but once you settle into its groove the movie becomes much more than the sum of its parts.
  5. Nobody Speak: Trials of the Free Press
    A film about the vital importance of speaking truth to power needn’t be so concerned with dressing up its own frightful truths, but Nobody Speak still compels as an opening statement on journalism’s dubious future.
  6. Bill Nye: Science Guy
    While Bill Nye: Science Guy may not spend all its time on the man himself, it proves that the guy behind “Science rules!” hasn’t gone anywhere.
  7. Transformers: The Last Knight
    It’s an unabashed freewheeling mess of CGI explosions, fast-talking strategies and shiny metal monstrosities clashing in epic battles. And it’s actually kind of fun, in an infuriating sort of way, to watch the most ridiculous Hollywood movie of the year do its thing.
  8. En el Séptimo Día (On the Seventh Day)
    Once the movie arrives at its brilliant climax, the cumulative effects of passing details lead to sweeping payoff.
  9. 47 Meters Down
    47 Meters Down sinks rather than swims, even if there are a few buoyant moments along the way.
  10. All Eyez on Me
    Boom’s film (penned by Jeremy Haft, Eddie Gonzalez, and Steven Bagatourian) initially reads as a timely rallying cry around Shakur’s legacy, before devolving into a paint-by-the-numbers biopic that unspools with as much energy as a Wikipedia entry.
  11. The Book of Henry
    It’s intermittently funny, mopey, and tense, sometimes totally off-base but certainly ambitious in its approach.
  12. Once Upon a Time in Venice
    Mark Cullen’s ruthlessly boring and decidedly dismal Once Upon a Time in Venice marks a new low in Willis’ still-trucking action career, one that even Cage would likely flinch at, even if it does feature an entire sequence dedicated to naked skateboarding.
  13. Rough Night
    We’ve yet to see if Kate McKinnon can lead a movie, but she sure as hell can steal one. She did it in “Ghostbusters,” and she did it again in Rough Night, which is surprisingly funny despite a wild premise riddled with potential pitfalls.
  14. My Cousin Rachel
    The film is visually breathtaking, and anchored by two strong performances. But the loyalties in My Cousin Rachel seesaw too dramatically for tension to build satisfyingly; the film runs hot and cold when it really wants to simmer.
  15. Viceroy's House
    This material could make for a powerful work, but Viceroy’s House is certainly not it.
  16. Cars 3
    Considering that it’s a second sequel in a less-than-revered franchise, it’s a minor miracle that Cars 3 hits the finish line with a fresh sense of purpose.
  17. Dawson City: Frozen Time
    As an act of preservation, Frozen Time is a marvel, a miracle, a complete good. As an act of storytelling, it’s still a bit too cold for the nitrate to catch fire.
  18. The Mummy
    It’s not that it’s bad, it’s that it never could have been good. It’s an irredeemable disaster from start to finish, an adventure that entertains only via glimpses of the adventure it should have been.
  19. Camera Obscura
    Though born of an inventive idea, Camera Obscura comes out underdeveloped.
  20. Megan Leavey
    A true story so pure that it almost grants its teller the permission to be sloppy, Gabriela Cowperthwaite’s Megan Leavey is a bit of a mess from the moment it starts, but it’s hard to completely dismiss any movie with a soul this strong, just as it would be hard to dismiss a disobedient puppy so long as its tail keeps wagging.
  21. Sami Blood
    From a certain perspective, Sami Blood tells a very familiar story, but the hyper-specificity of its telling renders it a wholly new and quietly profound experience.
  22. Wonder Woman
    Wonder Woman is as much about a superhero rising as it is about a world deserving of her, and Diana’s hard-won insistence on battling for humanity (no matter how frequently they disappoint) adds the kind of gravitas and emotion that establishes it as the very best film the DCEU has made yet. There’s only one word for it: wonderful.
  23. The King
    A documentary as sprawling and brilliant and flawed as the country it traverses, Eugene Jarecki’s The Promised Land is a fascinatingly overstuffed portrait of America in decline.
  24. Faces Places
    While all of the people they meet are delightful characters who the film manages to milk for every ounce of their personality, Varda and JR inevitably emerge as the real stars here.
  25. A Ciambra
    Sorely lacking the energy that made “Mediterranea” such a vital shot in the arm, A Ciambra is a half-step backward for Carpignano, whose clear sense of place is too often hampered by shapeless plot.
  26. Makala
    There’s a fine line between watching someone toil and feeling as though you’re toiling yourself, of course, and “Makala” doesn’t always land on the right side of it. It can be edifying at times to watch this, as the film is clearly a labor of love — even if the actual work depicted is not.
  27. How to Talk to Girls at Parties
    Mitchell transforms Neil Gaiman’s sci-fi short story into a vibrant, edgy and at times outright goofy statement on tough antiestablishment rebels and freewheeling hippy vibes, suggesting that they’re not really all that that different.
    • 43 Metascore
    • 58 Critic Score
    Based on a True Story
    A stylish but ultimately stiff collection of old tropes about writers and their audience, fiction vs. reality, and the Other that becomes you.
  29. Ismael's Ghosts
    At its best, the movie is a freewheeling gambit, hurtling in multiple directions at once, and it’s thrilling to watch Desplechin try juggle them all. [Cannes Version]
  30. You Were Never Really Here
    It’s an enticing challenge for the writer-director to develop a stylish mood piece out this flimsy material, adapted from a Jonathan Ames novella as a series of textured moments. The movie is an elegant homage to a mold of scrappy detective stories that often collapses into a concise pileup of stylish possibilities.
  31. Godard Mon Amour
    Light and inoffensive, it trades the intellectual rigor of Godard’s work for fluffy sentiments, but never gets crass. Above all else, it succeeds at transforming cinephile trivia into a genuine crowdpleaser.
  32. Jupiter's Moon
    Jupiter’s Moon is no simple story of escape, in part because Mundruczó’s script (co-written with Kata Wéber) has no real idea where it’s going.
  33. Happy End
    Rather than smothering the material in bad vibes, the filmmaker uses them to gradually reveal a fascinating world in which anger and resentment becomes the only weapon any of these people know how to wield.
  34. Loveless
    While not the same league as “Leviathan,” Zyvagintsev’s latest slow-burn look at anguished people tortured by problems beyond their control displays his mastery of the form.
  35. Let the Sunshine In
    As slinky as the reflection of a neon sign trailing across the hood of a black sedan, this is a slight movie, shot on a whim just a few months before its world premiere, and it feels cobbled together in its search for some kind of meaning.
  36. Double Lover
    A fitfully amusing erotic thriller in which nothing is what it seems, anything could happen, and everything is at least a little ridiculous.
  37. BPM (Beats Per Minute)
    Assembling the story out of small moments and gripping exchanges, Campillo grounds this earnest drama in a sense of purpose.
  38. Lover for a Day
    The always-understated director never mines the domestic situation for excessive melodrama, instead opting to step back and wryly examine the three leads’ contradictory impulses.
  39. Filmworker
    [A] suitably workmanlike documentary.
  40. The Square
    The director excels at generating a nervous energy around his character’s mounting desperation, and the movie’s intermittently engaging for that reason alone.
  41. Hermia & Helena
    By positioning Shakespeare within a chatty tale of young adulthood — and giving it a feminist slant — Piñeiro proves the vitality of the material without becoming subservient to it.
  42. Good Time
    After such powerful momentum, the brothers don’t quite stick the landing, but it’s a thrill to watch them try.
  43. The Day After
    The film is carried along on a powerful undercurrent of regret, and it comes to feel as though Bong-wan is a prisoner in the book-lined office where he ostensibly holds all the power.
  44. The Florida Project
    The Florida Project further cements Baker’s status as one of the most innovative American directors working today, but he’s also an essential advocate for the stories this country often doesn’t get to see.
  45. The Killing of a Sacred Deer
    Fortunately, the filmmaker’s rare gift for brutal absurdity remains intact, and The Killing of a Sacred Deer only gets funnier as it grows darker.
  46. The Beguiled
    The Beguiled is a lurid, sweltering, and sensationally fun potboiler that doesn’t find Coppola leaving her comfort zone so much as redecorating it with a fresh layer of soft-core scuzz.
  47. The Meyerowitz Stories (New and Selected)
    The Meyerowitz Stories (New and Selected) isn’t the wittiest or most exciting movie that Noah Baumbach has ever made, but it might just be the most humane.
  48. Wonderstruck
    This is a soul-stirring and fiercely uncynical film that suggests the entire world is a living museum for the people we’ve lost, and that we should all hope to leave some of ourselves behind in its infinite cabinet of wonders.
  49. Baywatch
    Baywatch won’t blow anything out of the water (except for the boat it sets on fire), but it will certainly make a splash.
  50. Blame!
    The film’s world-building is more engaging than its plotting, which skews toward the generic as the embattled good guys set out on their last-ditch effort to save what remains of humanity; there’s a sense, while watching Blame!, that there are more interesting stories on the fringes of this tribal future.
  51. Everything, Everything
    It may not break the mold in many ways but one, but the impact of that one is far from trivial.
  52. War Machine
    The movie veers from the broad doomsday satire of the “Dr. Strangelove” variety to a more subtle portrait of institutional failure, and doesn’t always succeed at modulating its tones, but it’s nevertheless a searing critique.
  53. Lost in Paris
    The pair blends storybook visuals with a stream of clever gags and oodles of pathos to deliver an infectious romance almost too eager to please at every turn.
  54. Pirates of the Caribbean: Dead Men Tell No Tales
    Kon-Tiki directors Joachim Rønning and Espen Sandberg are at the helm this time around, proving capable captains even if the script they’re working from isn’t always seaworthy.
  55. Term Life
    Perhaps the most damning thing that can be said about Term Life is that it’s exactly the limp, shapeless, and forgettable kind of thriller you might expect from the director of “Couples Retreat” (Peter Billingsley, a.k.a. Ralphie from “A Christmas Story”).
  56. Blade of the Immortal
    For all the great action and idiosyncratic antagonists (Erika Toda, as a brutally efficient warrior who can’t stomach violence is a particular standout) Blade of the Immortal is altogether too much.
  57. Okja
    As with Snowpiercer, this is a story almost too eager to fire in multiple directions, sometimes with messy results, veering from broad satire to softer exchanges with little regard for finding balance between the two.
  58. Paris Can Wait
    Like a fine conversation, which her solid script mostly delivers, Coppola keeps the tension in the air like a lightly bouncing ball.
  59. Meri Pyaari Bindu
    While Meri Pyaari Bindu isn’t entirely clichéd, it also never quite finds its footing in terms of tone, narrative, or chemistry between the lead characters, coming off instead as both confused and confusing about where it’s going or what it’s trying to say.
  60. Stefan Zweig: Farewell to Europe
    Schrader’s direction is unobtrusive but agile, as though she considers it her duty to provide a cinematic soapbox for Zweig and politely exit the spotlight.
  61. Hounds of Love
    These aesthetic flourishes are as necessary as they are nice to look at, and go a long way toward making the darker shades of Hounds of Love less of an endurance test.
  62. The Midwife
    Offering plum roles to Catherines Frot and Catherine Deneuve, The Midwife is a minor-key crowd pleaser about friendship, forgiveness and rolling with the punches.
  63. Snatched
    Pairing up talented comedians like Hawn and Schumer with a wacky plotline to match should spell comedy gold, but Snatched is about as cheap and disposable as a tourist trap tchotchke.
  64. King Arthur: Legend of the Sword
    Part “Game of Thrones,” part “Snatch,” and almost all bad, Guy Ritchie’s King Arthur: Legend of the Sword is one of those generic blockbusters that has nothing to say and no idea how to say it.
  65. Folk Hero & Funny Guy
    Russell and Karpovsky are a winning pair, and if they ever want to hit the road for more big jokes and even bigger revelations, any director would do well to let them take the wheel.
  66. A Woman's Life
    A Woman’s Life is a very particular experience, told with consistency and without a whit of compromise. It’s not always exciting, but there’s something tremendously rewarding (and very sad) about the matter-of-factness of it all, the ceaseless indifference of time’s steady forward march.
  67. Alien: Covenant
    Just as this series focuses on survival instincts, it seems that Scott has found a way to exercise his own, keeping the “Alien” series relevant by resurrecting the same old scares.
  68. Below Her Mouth
    It’s a fittingly ambiguous title for a directionless film, late night fare that will be enjoyed by just as many horny men as horny teenage lesbians.
  69. Last Men in Aleppo
    Last Men in Aleppo is less about finding meaning amidst a massacre than it is about people who are trying to survive without it.
  70. Get Me Roger Stone
    Of all the non-fiction movies that have already been made about the toxic cesspool of the 2016 election, or how Trump emerged from it like a leather-tanned Swamp Thing, Get Me Roger Stone is the one that best articulates how we got here and who’s to blame.
  71. It Comes at Night
    Once again, Shults has delivered a top-notch psychological thriller, but It Comes at Night builds an unnerving atmosphere around unspecified sci-fi circumstances.
  72. Whitney: Can I Be Me
    The film’s main triumph is in crafting a convincing narrative with a clear point of view.
  73. Sweet Virginia
    The film is gripping from start to finish, even when so much of its menace rings hollow.
  74. I Am Heath Ledger
    I Am Heath Ledger is far too loving a portrait to be confused for art — don’t expect another “Amy” — but the film’s superficial approach is buoyed by an overwhelming degree of sincerity.
  75. Flower
    At times, [Deutch's] performance is perhaps even too strong for the film that’s cobbled together around it, as the actress so convincingly indicates at Erica’s vibrant and complex inner life that she embarrasses the script’s feeble attempts to diagnose and solve her character.
  76. The Trip to Spain
    Director Michael Winterbottom hasn’t just delivered the funniest movie of the year, but also a comedy that casts its characters in a harsh new light.
  77. The Lovers
    The movie deals less with awkwardness of this comedic scenario than the emotions it creates for its central duo, and the psychological struggle when words can only go so far.
  78. The Death and Life of Marsha P. Johnson
    The Death and Life of Marsha P. Johnson is particularly suspenseful for the way it recollects the past through the prism of a murder mystery, brilliantly fusing an archival history with the elements of a detective story.
  79. Abundant Acreage Available
    Set in a single location with a cast of five, the movie offers a lesson in minimalist drama, unfolding as a sharply acted mood piece that never crescendos, but hums along with wise observations and first-rate performances.
  80. Stephanie
    Stephanie showcases the best and worst of that cheap model: It encourges an innovative and economical storytelling approach, but the scrappy production values obscure the stronger moments.
  81. The Wall
    The director’s instincts are a bit too broad to sell the full psychic horror of this scenario, and Taylor-Johnson will never be accused of being able to shoulder a movie by himself, but a super coherent sense of space and a vivid feel for the environment help The Wall to remain upright to the end.
  82. The Circle
    The premise begs to provoke contentious debate around privacy laws in an age of boundless innovation, but it can’t seem to find steady footing in that dialogue, in part because it lacks a substantial means of asking the right questions.
  83. Leaning Into the Wind
    Leaning Into the Wind will inspire anyone who sees it to look for the beauty in every gust, to admire how nature constantly rearranges itself, and us along with it. Even at its most self-conflicted, this is a fascinating reminder that some art wasn’t made to be owned.
  84. The House of Tomorrow
    A mawkish coming-of-age story that marries Sundance vibes with a soft punk spirit, Peter Livolsi’s The House of Tomorrow never manages to flesh out its skeleton of quirks, but its heart is definitely in the right place.
  85. Everything Else (Todo Lo Demás)
    Much of this quiet, slow-burn character study inhabits the dreary, remote quality of Doña’s existence, but with time, the movie pieces it together to reveal the emotional solitude lurking beneath that distant gaze.
  86. Guardians of the Galaxy Vol. 2
    Much of the material gets rehashed with slight variations...and many of the space battles have a redundant quality.
  87. Wakefield
    Swicord, perhaps a touch too reverent of Doctorow’s writing, can’t quite solve the limited emotional range of her protagonist.
  88. Tramps
    Having established such an electric pair, Tramps doesn’t quite know what to do with them beyond the initial setup.
  89. Super Dark Times
    Shot with the stoic confidence of a capable young director flexing his muscles, Super Dark Times is visceral and gripping throughout, its probing compositions forcing you to peer deeper and deeper into the darkness.
  90. Unforgettable
    Unforgettable treats this central struggle over the heart of a family in the same way that a recent Ken Watanabe character does, by surveying the battlefield and coming to a simple, definitive conclusion: “Let them fight.”
  91. Lucky
    Lynch’s directorial debut is a wisp of a movie, blowing across the screen like a tumbleweed, but it’s also the rare portrait of mortality that’s both fun and full of life.
  92. The Ballad of Lefty Brown
    By giving the spotlight to an archetype usually relegated to the background, writer-director Jared Moshé puts a revisionist spin on the familiar oater, but everything else about The Ballad of Lefty Brown is by the book.
  93. Sandy Wexler
    It’s awful, and yet it’s almost objectively Sandler’s best movie since “Funny People.”
  94. Little Boxes
    As knowing and perceptive as Howell’s script can be, it fails to galvanize its most sensitive ideas into compelling drama, and Meyer doesn’t recognize where a spark might be necessary.
  95. The Cage Fighter
    The movie works as a fascinating psychological dissection, and avoids any precise judgement of Carman’s habits.
  96. Muhi: Generally Temporary
    While Muhi develops a remarkable window into its main character’s predicament, it doesn’t push beyond the limitations of its classically cinema verite approach, and the assemblage of scenes from the hospital and beyond fall short of crystallizing into a complete analysis of Muhi’s situation.
  97. Glory
    It’s so confidently directed and performed that even the obvious bits sink in.
  98. The Fate of the Furious
    F8 is the worst of these films since “2 Fast 2 Furious,” and it may be even worse than that. It’s the “Die Another Day” of its franchise — an empty, generic shell of its former self that disrespects its own proud heritage at every turn.
  99. All These Sleepless Nights
    More than just a hypnotically hyper-real distillation of what it means to be young, All These Sleepless Nights is a haunted vision of what it means to have been young.
  100. SHOT! The Psycho-Spiritual Mantra of Rock
    Rock’s lack of self-importance prevents the doc from fetishizing the past, and Clay — who appears to have met the photographer on the set of a TV on the Radio video — is wise to assume that the world doesn’t need yet another reminder that it used to be full of gods.
Page:

Top Trailers

See all »
See all trailers »