IndieWire's Scores

Select another publication »
For 5,167 reviews, this publication has graded:
  • 59% higher than the average critic
  • 4% same as the average critic
  • 37% 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: 3,568 out of 5167
  2. Mixed: 1,333 out of 5167
  3. Negative: 266 out of 5167
5167 movie reviews
view
per page
  1. One Lucky Elephant
    Unlike recent activist documentaries about animal cruelty like "The Cove," Leeman's narrative doesn't feature any real villains. Balding's bond with Flora leaves him in a perpetual state of uncertainty about which possible new home for his elephant would provide the safest habitat.
  2. The Trip
    The central appeal of The Trip is that it's only a comedy in bits and pieces. Overall, however, Winterbottom constructs a thoughtful and generally sad portrait of Coogan's persona as a man unsure of his next move.
  3. Beginners
    Mills fashions the set-up for an overwrought, thoroughly depressing character study into an oddly charming comedy. It's a midlife crisis gently portrayed with sympathy rather than grief.
  4. Film Socialisme
    Film Socialism is a weighty, intentionally cryptic product that's easy on the eyes and heavy on the mind.
  5. Submarine
    Where "Bridesmaids" has plenty of solid gags, it's not much to look at; Submarine always has something impressive to watch even when its plot is on autopilot.
  6. Beautiful Boy
    Despite routinely overstating the scenario with rampant scenes of tantrums and sobs, the majority of Beautiful Boy is made bearable by its two solid performances.
  7. The Tree of Life
    More meditation than movie, Terrence Malick's The Tree of Life is bound to mystify, awe and exasperate in equal measures.
  8. Everything Must Go
    The material, however, takes a Raymond Carver short story and plays it almost too straight. Ferrell looks uncomfortable, but not amusingly so.
  9. Beautiful Darling
    Beautiful Darling not only explains the appeal of its subject; it actively contributes to her ongoing mystique.
  10. Caterpillar
    Before its spell unravels with overdone theatricality and on-the-nose flashbacks, Caterpillar succeeds as a kind of representational horror movie.
  11. Hobo with a Shotgun
    Loaded to the gills with thrill-inducing mayhem, Hobo with a Shotgun feels almost tribal in its commitment to violence.
  12. The Beaver
    With tightly controlled performances and uniquely eccentric events, The Beaver is mainly undone by the lack of a satisfying outcome.
  13. Passion Play
    The reality is that Passion Play has a few good ideas that simply don't hold together. More of a miscalculation than an outright dud, it takes the form of a wildly surreal western fantasy, something that Chilean madman Alejandro Jodorowsky ("El Topo") could have executed with more rigorous invention.
  14. Cave of Forgotten Dreams
    Herzog naturally plays up the enigma at hand with epic grandeur, occasionally overdoing it but usually hitting the mark.
  15. The Arbor
    The cumulative impact of The Arbor is one of claustrophobia; at times, the endlessly downbeat adventures of Dunbar and her offspring grow almost unbearably morose.
  16. Incendies
    The climax is a little too clever and far-fetched-an unnecessarily neat finale for a movie that works fine when dealing in broad strokes, some of which are nothing short of masterful.
  17. The Double Hour
    At its core, The Double Hour is a classic noir story of deception.
  18. The Imperialists Are Still Alive!
    The first-time director's refreshingly credible portrait of a boho character with Middle Eastern origins rectifies the aforementioned canonical gap in a witty, naturalistic generational snapshot.
  19. A Screaming Man
    At its core, A Screaming Man emphasizes the strength of family bonds. It's a sad, moving portrait that has nothing to do with its chaotic setting.
  20. The Conspirator
    While Redford frames the drama with a tense atmosphere, it doesn't shake the sense that we're watching a tame made-for-TV affair.
  21. Arthur
    Easy on the eyes, intermittently amusing and never downright awful.
  22. To Die Like a Man
    To Die Like a Man deserves your attention for showcasing a filmmaker with the capacity for bold narrative trickery that doesn't come at the expense of emotional investment.
  23. Kati with an I
    Greene's patient, understated portrait renders a universal rite of passage in strangely alluring, poetic terms.
  24. Meet Monica Velour
    Like the poster, Meet Monica Velour is engaging to a point, but leaves much to be desired.
  25. Meek's Cutoff
    Reichardt crafts a highly textured narrative that both invokes the mythology of the American frontier and cleverly transcends it.
  26. Hanna
    The resulting adrenaline-packed vehicle delivers a multi-directional sugar rush. It moves so quickly that the bells and whistles blur together.
  27. Wrecked
    Brody's engagement with the material prevents Wrecked from falling apart.
  28. Potiche
    Potiche successfully satirizes the gender politics at its core. At the same time, it knowingly mocks the obsession over debates about the suppression of women that pervaded the culture during the movie's setting.
  29. I Travel Because I Have to, I Come Back Because I Love You
    The visual collage retains a consistent melancholy, resulting in an experience that's both deeply affecting and-since José never actually appears on-camera-utterly detached.
  30. Rubber
    Dupieux's utterly zany slice of narrative subversion transcends that singularly goofy premise to create one of the more bizarre experiments with genre in quite some time.
Page:

Top Trailers

See all »
See all trailers »