IndieWire's Scores

Select another publication »
For 5,209 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 Black Ball
Lowest review score: 0 Pixels
Score distribution:
  1. Positive: 3,599 out of 5209
  2. Mixed: 1,342 out of 5209
  3. Negative: 268 out of 5209
5209 movie reviews
view
per page
  1. Hands of Stone
    In trying to squeeze a half-dozen life stories into its running time, Hands of Stone, the new film about legendary Panamanian boxer Roberto Durán, magnifies that disappointing mistake.
  2. Goodbye Christopher Robin
    We’re left with something handsome but safe, a film that tries to bridge the gap between children’s characters and adult concerns without ever anchoring itself to either side.
  3. Stockholm
    The best thing you can say about Stockholm is that it’s good enough to prove that a much better film could be made from this story.
  4. 12 Strong
    Fuglsig’s feature debut is ultimately less an action movie and more a procedural, one in which incremental gains and minimal casualties are as much as can be hoped for.
  5. Arthur the King
    [A] sturdily enjoyable if emotionally uninsightful heart-tugger that aims straight down the middle of the audience for a mildly reassuring experience mostly made with families in mind.
  6. Bad Boys: Ride or Die
    It works because the movie around these actors strikes the right balance between silliness and sincerity, even if only by virtue of being sillier and more sincere than any of the previous installments.
  7. Strays
    The film also boasts unexpectedly great voice acting; it’s not an exaggeration to say that Oscar winner Foxx thrives as the voice of Bug.
  8. Firebrand
    Firebrand pays frequent lip service to the courage it surely required for Katherine to do her royal duties with a straight face at the same time as she cultivated such radical ideas in secret, but little about the film itself reflects the courage of her convictions.
  9. Dear Mr. Watterson
    Schroeder tracks the end of innocence in much the same way that the strip captured it each time out. Unlike "Salinger," he hardly makes a spectacle out of Watterson's secluded tendencies. The pileup of interview subjects speak eloquently on his behalf.
  10. Nutcrackers
    We know where this is going. That doesn’t dilute the emotional power of it, of a man seeing where his heart really is and what that means in practice.
  11. The Etruscan Smile
    If nothing else, the movie makes a strong case for Cox’s astounding resilience, an ability to take even the most routine gig and deepen its potential. It helps that The Etruscan Smile sputters along more than it belly-flops, and stabilizes by the poignant finale.
  12. The First Purge
    The First Purge is another absurd B-movie, uneven and ludicrous across the board, but altogether transfixing for the way it funnels Trump-era terror into an empowering crowdpleaser.
  13. Barrage
    The director has a novelist’s attention to nuance, and Barrage is at its best during the scenes in which Catherine and Alba are casually trying to redraw their boundaries.
  14. The Walrus and the Whistleblower
    While the movie gets a little too lost in Demers’ headspace, his story brings to light the limitations of the “Blackfish” effect, and shows why the war against marine park cruelty has a long way to go.
  15. Wasp Network
    An overstuffed espionage thriller that bites off more than it can chew and never manages to find its footing, Olivier Assayas’ Wasp Network is an exceedingly rare gaffe from one of the greatest filmmakers of the last 30 years. Even so, his restless genius can still be felt percolating below the surface and struggling to come up for air.
  16. False Positive
    Trapped in some bizarre movie genre hinterland, wholly resistant to veering too far in any direction, this aimless film isn’t dark enough to be scary, funny enough to be a comedy, or smart enough to say anything about the many topics it seems to want to tackle.
  17. The Discovery
    By turns resoundingly human and regretfully half-baked, the film wears its influences on its sleeve.
  18. M3GAN 2.0
    Useless narrative threads and too many wasted elements give away M3GAN 2.0 as an amateur effort made by a talented horror filmmaker who has not yet mastered action’s specific visual language or skill set.
  19. Moxie
    The film is entertaining enough for most viewers, although some audiences might balk at a perceived lack of comedy from comedic superstar Poehler. That’s not its aim, however, and the film is charming, even without big laughs.
  20. Seberg
    Sometimes clever, often clumsy, and virtually always denying Kristen Stewart the space required to breathe new life into the film’s namesake, Seberg feels off-balance from almost the moment it starts.
  21. Saturday Fiction
    Mesmeric but frustrating ... An explosive third act shootout may be the most remarkable sequence that Lou has ever shot, but all of the hard-boiled fireworks in the world can’t diminish the feeling that he can’t identify his muse on a canvas this big.
  22. Captive State
    Embedded in all this is a would-be message about those who trade freedom for security, the human spirit, and so on and so forth, all of which is too muddled to register with the intended force. Captive State is many things at once — or at least it’s trying to be — and every match it lights along the way is quickly snuffed out.
    • 54 Metascore
    • 75 Critic Score
    Fackham Hall
    Fackham Hall succeeds because it effectively skewers its target genre, and its top-tier actors know how to deliver a joke to its furthest possible endpoint.
  24. Adulthood
    Alex Winter’s amusing but slight film is a wacky romp about intergenerational trauma and cycles of abuse, though that’s pretty obvious from any given promotional image. As crazy as the movie purports to be, there’s never an unexpected moment. Thankfully, this turns out to be less of a problem than it should be.
  25. Hello, Goodbye and Everything in Between
    The fast-paced dialogue and mature-but-wholesome humor creates a general aura of clever high school rapport, aided by a lively supporting performance from comedian Ayo Edebiri (“Big Mouth”). But in trying to be everything in between, the movie ends up being not much of anything.
  26. The Boys in the Boat
    The Boys in the Boat would be the most old-fashioned movie of the year even if the year were 1994. For at least the first half of Clooney’s latest movie, the comfort food of it all proves to be part of its gently stirring charm, stale as it might be.
  27. Spies in Disguise
    While the beats are familiar and even a film about animated pigeons can’t quite break out of the tropes that have long defined the spy film genre, it’s the kind of sweetly demented late-December diversion that should entertain plenty of holiday-weary families.
  28. Spellbound
    Stories that are “timely” or “prescient” may be the norm these days, but Spellbound works a little magic to ensure that such messaging, as important as it may be, doesn’t get in the way of a good time for the entire family. That’s another thing we need now, more than ever.
  29. Greta
    It opens as a stilted, awkward drama, complete with the always-delightful Maika Monroe giving literal voice to what appears to be the film’s obvious theme (mommy issues, basically) — and then it takes a surprising flip.
  30. The Craft: Legacy
    The result is an entertaining and insightful mashup of tropes, both respectful of what came before and willing to try new tricks. Being a weirdo, it seems, has never gone out of fashion, but now it has a different kind of future to conjure up.
Page:

Top Trailers

See all »
See all trailers »