IndieWire's Scores

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For 5,179 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 4.4 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: 3,579 out of 5179
  2. Mixed: 1,334 out of 5179
  3. Negative: 266 out of 5179
5179 movie reviews
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  1. Deadpool 2
    Like so many franchise-starting first films, “Deadpool” had to push through some necessary evils to get to the good stuff, fortunately, all that subversive goodness is on wild display in Deadpool 2, which delivers on the promise of the first film (and more).
  2. BlacKkKlansman
    Hell, this thing is so mainstream it feels like the start of a franchise. And yet, that mass appeal is a huge part of what makes this funny and righteously furious American film so powerful.
  3. Birds of Passage
    While it never reaches the psychedelic heights of Guerra’s previous effort and relies on a more conventional pattern of events, Birds of Passage delivers another fascinating tone poem about Colombia’s fractured identity.
  4. Ash Is Purest White
    It’s a movie that often feels like a mega-mix of Jia’s greatest hits, but one that rehashes them with precious little of the ineffable grace that make each of them so valuable on their own.
  5. 3 Faces
    Even as Three Faces staggers along, it maintains the unique blend of introspection and intrigue that defines this singular director’s talent.
  6. Arctic
    Arctic works because it’s so believable. The movie never cheats or takes shortcuts.
  7. Climax
    Gaspar Noé’s remarkable psychedelic ride is his most focused achievement, a concise package of sizzling dance sequences and jolting developments that play like a slick mashup of the “Step Up” franchise and “Salo, or the 120 Days of Sodom,” not to mention the disorienting cinematic trickery of Noé’s own provocative credits.
  8. Pope Francis - A Man of His Word
    The film shows a refreshing interest in his current existence, rather than becoming a by-the-book retread of his pre-pope life.
    • 60 Metascore
    • 83 Critic Score
    Get the Gringo
    People might not find it all that pleasurable, but “Get the Gringo” is, refreshingly, 100% Mel.
  10. Beast
    Beast walks the line between taut psychological thriller and doomed genre romance, smartly remaining laser-focused on Moll and her fraying sanity.
  11. Anything
    Once more for the people in the back, treating anyone’s identity like a costume is offensive and dangerous to an already-marginalized group. If the filmmakers wanted the movie to have a real impact, they should have cast a transgender actress. Instead, Anything is just a yellow lily-livered mess.
  12. Life of the Party
    Life of the Party is proof that even the funniest actors need good material, which makes it all the more disappointing that McCarthy wrote the script with director Ben Falcone, who is also her husband.
  13. Breaking In
    The full force of Union’s performance pushes the film to occasional crowd-pleasing results — give this woman a real action role, and fast — and Shaun’s ability to fight back is the one reliable element of an uneven film.
  14. Everybody Knows
    It’s a taut setup that risks veering into soapy territory, but Farhadi reveals just enough involving details to pause at individual moments and rest on more intimate observations.
  15. Terminal
    Vaughn Stein’s Terminal takes a mess of dead tropes and Frankensteins them together into an crime saga that’s in desperate need of brains. And a soul. And a story.
  16. Revenge
    Revenge is a bit too thin to sustain its running time (despite its slickness and mesmeric rhythm), but Fargeat’s well-executed finale is worth the wait, particularly for how it cements Lutz as a final girl for the ages. A girl who’s stripped of her humanity, and then finds the strength to return the favor several times over.
  17. The Rescue List
    The patience and sensitivity with which The Rescue List renders the children themselves is remarkable.
  18. Manhunt
    It’s hard not to smile when John Woo is having this much fun, or to care about the future when the old-fashioned has this much style.
  19. Overboard
    Hammy jokes fall flat and that bloated run time sags in the middle, weighing down would-be snappy humor. It should all pop, but Overboard settles for a low crackle.
  20. Racer and the Jailbird
    Racer and the Jailbird speeds along at an engaging clip, but never overcomes the fundamental simplicity of its plot.
  21. Psychokinesis
    Psychokinesis doesn’t leave you with much more than a bittersweet feeling about it all, but it’s an appropriately different takeaway from such a refreshingly different superhero movie.
  22. Diane
    It’s a pinhole portrait of life on Earth; a non-judgmental story about trying to reconcile meaning with meaningless before the well runs dry and it rains again.
  23. Zoe
    If we ever truly sympathize with Doremus’ nebulous characters, it’s only because they help us appreciate how painful it can be to spend so much time trying to divine meaning from utter emptiness.
  24. Ava
    It’s gut-punch cinema, uneasy and unpredictable, though Foroughi keeps it clicking right along into the rare open ending that feels earned.
  25. State Like Sleep
    Meredith Danluck’s State Like Sleep doesn’t really go anywhere, but it lulls you into enough of a stupor to enjoy the time it takes to get there.
  26. The Seagull
    Theater lovers will enjoy seeing these actors take on such iconic roles, but they’ll find themselves wishing they were seeing the same great talent on the stage.
  27. The Party's Just Beginning
    Set in Gillan’s own hometown of Inverness, the film uses the tragic history of the Scottish Highlands (which has the highest suicide rate in the U.K.) to spin out an intimate coming of age tale, bolstered by Gillan’s dark sense of humor and a firm understanding of how to play with narrative conventions.
  28. Mapplethorpe
    This runaway train of a biopic renders an iconoclast in the most generic of terms, straining Mapplethorpe’s brief life into a series of bullet-points that feed into each other with all the drama of a Wikipedia page, and a fraction of the context.
  29. Love, Gilda
    Love, Gilda is the rare documentary that could stand to pile on longer clips of its subject’s early years without feeling indulgent. Once you start watching Radner, it’s hard to stop, and the sheer force of her talent and the way she reveled in sharing it remains contagious.
  30. In a Relationship
    What Sam Boyd’s tender and winning debut feature lacks in originality and ambition, it makes up for in honesty and charm.
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