IndieWire's Scores

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For 5,164 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: 3,565 out of 5164
  2. Mixed: 1,333 out of 5164
  3. Negative: 266 out of 5164
5164 movie reviews
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  1. The Woman
    There are plenty of guts, but The Woman doesn't have enough to make its feminist rhetoric stick.
  2. The Way
    Estevez treats the drama with a straight-faced, utterly earnest approach with dual respect for the material and the audience's awareness of how it can go wrong. By playing it straight, The Way never goes off the deep end.
  3. Margaret
    Artistically, however, the movie delivers on a surprisingly effective scale, no matter how Lonergan sees it. Alternately perceptive, subversive, tragic and profound.
  4. Carnage
    Polanski struggles to make the material more cinematic, toying with clever mise-en-scene to showcase the mounting tensions. However, Carnage repeatedly suffers from an internal tension between the possibilities of two media at odds with each other.
  5. The Human Centipede II (Full Sequence)
    Like the original, the most shocking aspect comes from the revelation that Six can actually tell a story.
  6. Paranormal Activity 3
    Paranormal Activity 3 hardly adds anything new to the situation; instead, it pretends to fill a gap while basically just heaping on one calculated "boo!" after the other.
  7. My Joy
    Deeply sorrowful and drenched in ambiguity, My Joy adopts a patient rhythm that departs from reality while studying it in depth.
  8. Take Shelter
    As with "Shotgun Stories," Nichols assembles a tense portrait of blue-collar life, while deepening his thematic interests and working on a bigger scale. Burrowing into the subconscious of a damaged man, he delivers a modern American epic with extraordinary restraint.
  9. Tucker & Dale vs Evil
    For anyone frustrated with countless formulaic exercises that drain modern horror of fresh ideas, Tucker & Dale is a downright cathartic indictment that encourages comparison to the "Scary Movie" franchise. It's mostly a smart spoof that looks awfully dumb for a reason.
  10. Machine Gun Preacher
    The action scenes in Machine Gun Preacher work fine on their own, but they cheapen a work that attempts to command great importance.
  11. Weekend
    Weekend builds into a powerful encapsulation of an identity crisis over the course of three passionate days.
  12. Shit Year
    Ellen Barkin puts on a bold, candid performance in Cam Archer's Shit Year, but the enigmatic movie is composed of too many fragments to sustain her efforts.
  13. Art History
    Art History is essentially Swanberg's version of "Zach and Miri Make a Porno," and, within the larger context of his career, just as inconsequential.
  14. The Ides of March
    The title suggests a dramatic Shakespearean twist, but Clooney's aims are much simpler. As he builds to a western showdown divorced from political specificity, the Manchurian-like manipulation turns Ides of March into an allegorical monster movie in which everyone's competing for the role of the monster and most people can't see it.
  15. Moneyball
    Director Bennett Miller has produced a warm and generally agreeable character study about the pratfalls of athletic institutions and the willingness to think outside the box.
  16. I'm Glad My Mother Is Alive
    The first half of I'm Glad My Mother's Alive effectively inhabits a child's mind in a manner that recalls Maurice Pialat's marvelous 1968 debut "The Naked Childhood."
  17. Detective Dee and the Mystery of the Phantom Flame
    While there's a casual dissonance to each twist in its winding plot that results in a disconnected and emotionally vapid experience, Detective Dee unquestionably achieves the escapism it intends.
  18. Don't Be Afraid of the Dark
    Largely a cut-and-paste affair, although useful for that very reason; it provides a glaring reminder that scary movies have evolved, both in terms of style and expectations, but the evolution isn't worth the effort.
  19. Higher Ground
    An earnest, sometimes bland and unsophisticated look at Corinne's undulating relationship to spirituality in general and Christian dogma in particular. But it's also a surprisingly well-made character study outside of its specific theme.
  20. Our Idiot Brother
    Hiding behind a shaggy beard and a stoner grin, Paul Rudd plays an amusingly oblivious shlub in Our Idiot Brother, but the movie can't keep up with his comic inspiration.
  21. The Tiniest Place
    The Tiniest Place calls to mind Patricio Guzmán's brilliant "Nostalgia for the Light," which focuses on the remnants of Chilean atrocities strewn about the Atacama Desert. Huezo, however, relies more on irony, juxtaposing the wartime setting with storybook images, acknowledging her distance from the events in question.
  22. One Day
    Anne Hathaway's faux British accent might be the first obvious conceit in One Day, but not its most cumbersome. That distinction belongs to the eponymous structure, a claustrophobic device that follows a pair of best friends over the course of a 22-year period, but only on many versions of July 15th.
  23. Amigo
    Well cast and undeniably attuned to the nuances of human behavior, Amigo nevertheless suffers from simple dramatic shorthand.
  24. Mozart's Sister
    For everything that Mozart's Sister imagines, it leaves much more up to imagination.
  25. Mysteries of Lisbon
    A four-and-a-half hour period piece littered with interconnected events spread across many years, it moves forward with fits of intrigue, interspersed with casual developments that deaden its momentum and call into question its monumental running time.
  26. Bellflower
    Despite its meandering plot, Bellflower presents its doom-laden vision as an astonishingly distinctive state of mind, arguing that the end of one self-made world always marks the start of a new one.
  27. Gun Hill Road
    Santana was cast prior to making her gender transition and had never acted before. Her personal experience brings such legitimacy that she would probably succeed in the role even if she sucked at line reading. Fortunately, she doesn't.
  28. The Devil's Double
    It's hard to believe that The Devil's Double doesn't intend to be a put-on. Despite a real-life basis of its plot, Lee Tamahori's fierce depiction of hedonistic Saddaam Hussein spawn Uday Hussein relegates the character to a farcical cartoon.
  29. Life in a Day
    It's a pretty experiment with no apparent results, but plenty of marketability.
  30. Crazy, Stupid, Love
    Unquestionably stands above the market standard for middlebrow comedies, but it repeatedly approaches greatness and stands down, beholden to forces quite possibly beyond the directors' control.
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