IndieWire's Scores

Select another publication »
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
view
per page
  1. Viceroy's House
    This material could make for a powerful work, but Viceroy’s House is certainly not it.
  2. 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.
  3. 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.
  4. 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.
  5. Camera Obscura
    Though born of an inventive idea, Camera Obscura comes out underdeveloped.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  15. 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]
  16. 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.
  17. 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.
  18. 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.
  19. 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.
  20. 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.
  21. 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.
  22. 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.
  23. BPM (Beats Per Minute)
    Assembling the story out of small moments and gripping exchanges, Campillo grounds this earnest drama in a sense of purpose.
  24. 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.
  25. Filmworker
    [A] suitably workmanlike documentary.
  26. 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.
  27. 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.
  28. Good Time
    After such powerful momentum, the brothers don’t quite stick the landing, but it’s a thrill to watch them try.
  29. 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.
  30. 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.
Page:

Top Trailers

See all »
See all trailers »