IndieWire's Scores

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For 5,235 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 La Gradiva
Lowest review score: 0 Pixels
Score distribution:
  1. Positive: 3,618 out of 5235
  2. Mixed: 1,348 out of 5235
  3. Negative: 269 out of 5235
5235 movie reviews
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  1. Exhibition
    Exhibition infuses its cerebral exposition with a strong dose of humanity.
  2. The Signal
    Eubank’s talent for creating impressive worlds with few resources is the movie's strongest aspect, but the concept feels like a never-ending exposition of technique without sufficient depth.
  3. Manuscripts Don't Burn
    Rather than relish in the stark proceedings, Manuscripts Don't Burn preys on its viewers' imagination, leaving several deaths and other dreary outcomes off-screen. In the unbearable tension of its final moments, the movie arrives at an expected destination, but the outcome stings more than anything preceding it.
  4. Policeman
    While blatantly topical, this is not a political film of the moment, but rather a calculated meditation on self-defined purpose in the midst of societal confusion.
    • 49 Metascore
    • 42 Critic Score
    The Sacrament
    The Sacrament is a missed opportunity to further expand West's pallet. Instead of twisting conventions and playing with expectations, West plays into expectations.
  6. Edge of Tomorrow
    Edge of Tomorrow is slick, but once its fancy plot dressing takes form, it has little more to offer aside from a few impressive action sequences and the infallible grin of its nimble lead.
  7. The Fault in Our Stars
    Boone’s unobtrusive style takes cues from the subdued nature of the material, but there’s little about the movie that makes the filmmaking stand out. Instead, it derives its chief strengths from a series of efforts to take the drama seriously, mainly embodied by Woodley’s onscreen investment in it.
  8. Willow Creek
    While it eventually devolves into exploring the terrifying prospects of something hairy lurking about in the shadows, Goldthwait uses that thrill factor to validate the commitment of Bigfoot believers. Willow Creek never feels like an attempt to proselytize, but it's a smart recognition of the dangers involved in doubt.
  9. Obvious Child
    The real triumph of Obvious Child involves its ability to make familiar ingredients work just fine on their own terms. In doing so, it makes up for a lot of lost time in the pantheon of female-centric comedies, and studios would be wise to take note.
  10. Maleficent
    It’s a dazzling showcase of fantasy-based filmmaking in the 21st century that also manages a feeble attempt at injecting feminist politics into an antiquated narrative. Yet its eventual climax strains from the obviousness of these efforts.
    • 81 Metascore
    • 91 Critic Score
    Elena
    Shot like a dream, spoken like an elegy, it takes nonfiction where it seldom wants to go – away from the comforting embrace of fact and into a realm of expressionistic possibility.
  12. We Are the Best!
    Despite the unruly music at its center, the filmmaker has crafted a uniformly gentle ode to growing up.
  13. A Million Ways to Die in the West
    In A Million Ways to Die in the West, MacFarlane loads up enough zaniness to make for a generally enjoyable mashup, particularly because the genial plot affords him a solid backdrop.
  14. Girlhood
    The tense, involving result confirms Sciamma's mastery over the coming-of-age drama, a genre too often reduced to its simplest ingredients.
  15. Party Girl
    Though never entirely the sum of its parts, Party Girl delivers a gentle, somber portrait of the aging process that's consistently believable precisely because not much happens.
    • 73 Metascore
    • 83 Critic Score
    The Blue Room
    In telling his story, Amalric is greatly aided by his ace cinematographer, Christophe Beaucarne, whose images pick up on a great many tiny but telling details, as if life were a mosaic composed of an almost infinite number of parts that are all equally important for the bigger picture.
  17. Grace of Monaco
    By exploring a narrow scenario from one chapter of Kelly's life, Grace of Monaco plays like fragments of an uncompleted biopic that's been art directed within an inch of its life.
  18. Lost River
    Rather than making his own movie, Gosling has composed a messy love letter to countless others.
  19. The Search
    The Search lacks the the credible emotions of the original and never assembles a convincing reason for its existence.
  20. Jimmy's Hall
    A minor work by Loach's standards, the movie nevertheless marks his most enjoyable effort in years.
  21. The Homesman
    Jones' alternately skillful and irreverent approach results in a mixed bag of possibilities, with many terrifically entertaining on their own even as the overall picture remains muddled.
  22. Clouds of Sils Maria
    The typically great Binoche conveys a tantalizing mixture of confidence and unease as she considers her glamorous past and undetermined future.
  23. Wild Tales
    While adhering to an internal logic that makes each punchline land with a satisfying burst of glee, the movie nevertheless stems from genuine fury aimed a broken world. It's the rare storytelling endeavor that manages to be laughably absurd and profoundly tragic at the same time.
  24. Two Days, One Night
    Much of the movie relies on Cotillard's jittery expressions as she veers from tentatively hopeful to despondent and back again, sometimes within a matter of minutes, reflecting the ever-changing stability of job security among the lower class.
  25. The Captive
    A lazily plotted and largely generic thriller.
  26. Maps to the Stars
    While not the director's canniest piece of filmmaking, it's unquestionably his angriest, politically motivated achievement. Every missive hits its target hard with a comedy-horror combo aimed squarely at the kind of commercial stupidity that Cronenberg has avoided throughout his 45-year career.
  27. Mr. Turner
    Mr. Turner is a first-rate match of director and subject. Less an explication of the man's genius than an immersion into its essence.
  28. Leviathan
    Rather than building towards the finality of a single climax, Leviathan injects several of them into the tapestry of its elegant design.
  29. Goodbye to Language 3D
    For Godard junkies Goodbye to Language is rich with Godard's temperament—and thus an enjoyable provocation, even if it doesn't all add up. But what Godard movie truly does?
  30. Mommy
    As a director, he finally shows a willingness to work on the same wavelength of the material instead of adding distracting bells and whistles that overstate his characters' grievances.
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