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. Gun Crazy
    It’s a B-film with a heart of gold, even if that heart was probably stolen.
    • 87 Metascore
    • 91 Critic Score
    Adam's Rib
    Despite Cukor’s rocky start with the couple, Hepburn and Tracy are in top form in Cukor’s sophomore collaboration, the 1949 courtroom comedy Adam’s Rib.
    • 96 Metascore
    • 91 Critic Score
    Red River
    In Red River, the destination of life’s long cattle drive is never more specific than “somewheres.” The lines marked on the map are just stops along the way.
    • 66 Metascore
    • 67 Critic Score
    Fun & Fancy Free
    A modest, nicely executed diversion, with a slim, not especially memorable story.
    • 80 Metascore
    • 83 Critic Score
    Brute Force
    As it successfully delves into the baser instincts of men from all sides, imprisoned either by their thirst for power or their unwillingness to give up, few films can compare.
    • 69 Metascore
    • 100 Critic Score
    The Man I Love
    Walsh sends about a half-dozen plot lines, styles, and themes into the air and keeps them all whizzing along like a master plate spinner, but he makes it look effortless — you never feel the director straining for his effects, all seamlessly integrated into 96 smooth minutes.
  7. Brief Encounter
    David Lean’s Brief Encounter captures love at its most ephemeral.
  8. The Miracle of Morgan's Creek
    One of the most demented studio comedies of the 1940s.
    • 61 Metascore
    • 75 Critic Score
    Keeper of the Flame
    Watching the couple embroiled in a drama that’s less romp and more mystery is a worthy treat for any Hepburn/Tracy fans.
  10. Mrs. Miniver
    An increasingly loud world may have made the quiet truths of "Mrs. Miniver" seem small - tune out the noise and hear what this film is saying. It's a roadmap for how dignity and freedom can survive.
    • 86 Metascore
    • 100 Critic Score
    To Be or Not to Be
    [A] magnificent film.
  12. Sullivan's Travels
    A satire that chastises Hollywood for its blinkered moralizing yet espouses on the value of escapism, Preston Sturges’ “Sullivan’s Travels” may seem like a film rife with contradictions, but not only is it cohesive, it never once feels muddled or, worse, didactic.
    • 74 Metascore
    • 100 Critic Score
    Woman of the Year
    The film is an exuberant, endearing triumph, setting a standard for wit and energy that defined Hepburn and Tracy’s partnership for a quarter of a century to come.
  14. Suspicion
    The ending has often been maligned. But if it’s not especially well-executed, it’s a tantalizing wellspring of ideas that reframes the entire movie that came before it and makes us realize the difficulty all of us face in piecing together our reality.
  15. Hold Back the Dawn
    [Wilder] delivered one of the finest critiques of a pre-war, isolationist U.S. committed to “America First.”
  16. The Sea Wolf
    Curtiz was a master of all genres but The Sea Wolf is his best. Darkly flirting with the noir genre that would capture the decade, there's so much tension and hostility, secrets and lies that permeate the ship. Ida Lupino has never been more beautiful as the criminal attempting to rewrite her past.
    • 63 Metascore
    • 83 Critic Score
    Mr. & Mrs. Smith
    What makes the film compelling is the fact that even though Norman Krasna’s script contains no friction between the needs of the genre and the impulses of the characters, Hitchcock creates it anyway.
    • 89 Metascore
    • 83 Critic Score
    Foreign Correspondent
    Foreign Correspondent hasn’t been as well remembered as some, but those who seek it out will discover a fun and highly entertaining picture awaiting them.
  19. The Grapes of Wrath
    There is a magnificence to The Grapes of Wrath in the breadth of its ambition, which still makes it the definitive cinematic take on one of America’s most defining epochs.
    • 91 Metascore
    • 91 Critic Score
    Frankenstein
    Whale’s direction nods to German Expressionism — the Escher-like dimensions of Dr. Frankenstein’s laboratory, the off-kilter camera angles, the long-armed shadows that extend over characters’ faces. Yet something softer anchors the film: sorrow.
    • 58 Metascore
    • 67 Critic Score
    Distance
    There are a succession of physically arresting images, though the movie is frustratingly opaque, too emotionally diffuse to capture a necessary nuance and depth of expression. In never quite finding a vital rhythm or shape, Distance is a work more easily admired than genuinely appreciated.
  22. Check It
    Check It is a powerful and electrifying film, full of characters who exude wisdom, authenticity, and bravado. Their lives beg telling, but this is only half the story.
  23. I Love You, Daddy
    As a whole, I Love You, Daddy belongs to C.K.’s own peculiar aesthetic, in that it’s brilliantly calibrated to captivate viewers and make them recoil at the same time.
  24. Mektoub, My Love: Canto Uno
    “Mektoub, My Love” is never about anything more than its own style.
  25. August Winds (Ventos de Agosto)
    Ventos de Agosto presents such an extraordinary portrait of rural life that its textures often overwhelm the narrative.
  26. Eva
    For a film with so few secrets of its own to hide, Eva also offers little to see on the surface.
  27. Utoya: July 22
    The film has the power to make our bodies catch up with our hearts — the power to help us safely experience the kind of terror we need to remember in a way that makes it impossible for us to forget.
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