IndieWire's Scores

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For 5,171 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: 3,572 out of 5171
  2. Mixed: 1,333 out of 5171
  3. Negative: 266 out of 5171
5171 movie reviews
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  1. The Immigrant
    Gray's fifth directorial effort is a conflicting experience admirable and powerfully executed in parts, cold and meandering in others.
  2. Grigris
    A straightforward tale of overcoming personal and professional challenges with no fancy dressing, Grigris goes down easy but offers nothing remotely fresh.
  3. Borgman
    With its palatial setting, Borgman shows how money can buy luxury, but it can't salvage the corruption that comes from within.
  4. Bastards
    Bogged down by flashbacks and flash forwards, The Bastards pointlessly mixes up its ingredients, creating a distancing effect from the tangible sadness at its core. The result is the rare case of a movie that confirms its maker's skill while wasting it on useless ambition.
    • 50 Metascore
    • 83 Critic Score
    As I Lay Dying
    The film seems to have been made to suggest something of Faulkner's style in a cinematic medium, and it's certainly laudable that there have been very few concessions to the marketability of a project like this.
  6. All Is Lost
    The movie is an impressively realized work of minimalist storytelling that foregrounds Redford's physicality more than any other role in his celebrated career. His performance defines the movie to an almost shockingly experimental degree.
  7. Nancy, Please
    Paul's increasingly hectic attempts to retrieve the book dominate the movie so heavily that it leaves little room for considering how this effort fits into the rest of his world.
  8. Nebraska
    It's a sad, thoughtful depiction of midwestern eccentrics regretting the past and growing bored of the present, ideas that Payne regards with gentle humor and pathos but also something of a shrug.
  9. Like Father, Like Son
    The story works wonderfully as an idea, but Kore-eda never quite manages to infuse it with the same depth of feeling his main character goes through.
  10. The Congress
    A wholly original and thoroughly surprising fusion of sensory overload and liberal philosophy bound to confuse and provoke in equal measures.
  11. Only God Forgives
    The movie is like one thin satiric lark inexplicably slowed down to the point of lethargy.
  12. In the Fog
    In the Fog develops an unearthly spell that largely makes up for its cerebral pace.
  13. Inside Llewyn Davis
    An ode to art for art's sake, Inside Llewyn Davis is the most innocent movie of the Coens' career, which in their case is a downright radical achievement.
  14. The Bling Ring
    Coppola presents a smart cross-examination of the impact of media exposure on fickle young minds. While the ambitions of its young thieves often blur together and lack precise definition, The Bling Ring is the director's breeziest work, allowing the story to glide along with the ease of a heist movie.
  15. Byzantium
    By the standards of Jordan's earlier films, "Byzantium" is unquestionably a minor achievement, but its technical specs help flesh out a thick environment that elevates the proceedings to a lyrical plane.
  16. Berberian Sound Studio
    Berberian Sound Studio constructs a perpetually strange, unseemly series of events overshadowed (and sometimes consumed by) the spooky movie-within-a-movie that hangs over every scene.
  17. The World Before Her
    As a conversation starter, The World Before Her gets the job done. By virtue of the topic and interviews, Pahuja showcases plenty of tensions between old world values and idealistic goals. That's hardly enough to make its narrative persistently alluring or emotionally sound.
  18. The Great Gatsby
    Luhrmann's The Great Gatsby has the hallmarks of a contemporary Hollywood spectacle. It's missing the explosions, but make no mistake: Gatsby is one glitzy misfire.
  19. Dead Man's Burden
    Nothing about Dead Man's Burden reeks of homage to oaters of yore -- instead, Moshé has made a legitimate entry in a genre he clearly adores.
  20. Generation Um...
    Though ultimately unsuccessful, it valiant reaches for a funky, wild critique of hedonistic sluggards wandering through society with no clear direction. But more than anything else, it delivers Keanu in his element.
  21. The East
    As slickly paced as a big-studio espionage movie, it nearly succeeds as a pure adrenaline-rush thriller. In the end, the problem isn't that there's too much plot, but rather a certain dramatic illogic.
  22. Lovelace
    Just as the frequent cutaways from sexual activity tone down the titillation, Lovelace never garners the energy to construct a fully involving melodrama, rarely rising above Lifetime movie standards. Given the material, the irony here is that the filmmakers play it too safe.
  23. Drinking Buddies
    Swanberg once again shows a capacity for capturing small moments that exist outside the direction of the plot. At the same time, the effective fragments of "Drinking Buddies" take his oeuvre in a new direction by accumulating into a reworking big picture.
  24. Passion
    Passion simultaneously parodies its plot while elevating it to a strangely involving exercise in cinematic drama. The filmmaker has either lost control of the material or maintains the same calculation of his protagonists. But the entertainment value associated with that uncertainty is the essence of his career.
  25. Computer Chess
    Computer Chess excels at conveying the frustrations of feeling trapped by forces beyond one's control, the complexities of humanity irresolvable by any neat code.
  26. Cutie and the Boxer
    Heinzerling's beautifully shot, painfully intimate look at the aging couple's struggle to survive amid personal and financial strain is both heartbreaking and intricately profound. This is a story about creative desire so strong it hurts.
  27. Laurence Anyways
    The movie contains an epic scope that feels out of sync with the smallness of its plot; you get the idea by the first act and then Laurence's world simply hangs there for another two hours like a slo-mo shrug.
  28. Prince Avalanche
    The opposing genre extremes never entirely come together.
  29. The Lords of Salem
    Zombie's witches aren't as scary as the credible psychopaths he has portrayed before, but The Lords of Salem contains enough frenzied imagery in its climactic moments to make the spell linger.
  30. Post Tenebras Lux
    The issue with Post Tenebras Lux is that the narrative, not the filmmaker, feels dispiritedly half-baked.
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