IndieWire's Scores

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For 5,173 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 4.3 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: 3,574 out of 5173
  2. Mixed: 1,333 out of 5173
  3. Negative: 266 out of 5173
5173 movie reviews
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  1. The Stranger
    The level of craft present in creating the mood is transfixing and the film works as a fever dream set in the tail-end of French colonial rule. But as an explicit adaption of the book by a mind in the process of birthing existentialism, it does not quite have the requisite courage or — dare I say it — strangeness.
  2. Oliver Sacks: His Own Life
    In the many ways it’s straightforward, it also allows for the same care that helped make him a transformational figure for himself and those moved to action by his work.
  3. Hold Your Fire
    The result is a searing look into a little-known moment in history with profound repercussions for how we understand policing today.
  4. Sicario
    Though Villeneuve magnifies the pervasive dread surrounding the modern drug war, he's better at conveying the thrill of creeping through that battlefield than the complex set of interests sustaining it.
  5. Bacurau
    At once both more forceful and more inscrutable than Filho’s previous work, Bacurau plunges deeper into midnight territory as its core ideas take hold, its ghosts become literal, and its heroes take up arms.
  6. The Last Viking
    The Last Viking elegantly juxtaposes the ludicrousness of the situation (one of the funniest side plots is Werner’s avid Beatle fandom and his apparently sincere belief that this makeshift band is going to deliver high quality covers) with the trauma that underscores the ridiculousness events.
    • 81 Metascore
    • 83 Critic Score
    At Berkeley
    Wiseman takes it all in, but don’t fall victim to the common error of ascribing objectivity to the veteran docmaker. Wiseman is a radical shaper and editor of his subjects.
  8. Blade Runner 2049
    Director Denis Villeneuve goes beyond the call of duty, with a lush, often mind-blowing refurbishing of the original sci-fi aesthetic that delves into its complex epistemological themes just as much as it resurrects an enduring spectacle.
  9. Step
    While Amanda Lipitz’s film doesn’t quite reinvent the narrative, Step tells a story that highlights the intertwining values of hope and education, and never loses sight of the idea that much more lies ahead.
  10. Eden
    Portraying a generation so energized by possibilities that it was bound to be let down, Eden offers a wise assessment of the interplay between fantasy and reality on the path to adulthood. The seductive rhythms are a perfect match for a movie that analyzes the unstoppable flow of life.
  11. The Woman Who Ran
    The movie has a loose, almost amateurish quality to its production that suggests another rush job from a filmmaker unwilling or unable to slow down. But the movie reveals its deeper layers with time, congealing into a perceptive and often charming bite-sized study of smart women contending with a series of annoying men.
  12. Mass
    Kranz’s direction may not be flashy enough to earn him a spot on Marvel’s shortlist, but the careful balance that he strikes between the movie’s four lead performances reflects a natural confidence behind the camera.
  13. 13th
    The sturdiest ingredient in 13TH is the testimony from people who clearly know what they’re talking about.
  14. This Much I Know to Be True
    This Much I Know to Be True mostly offers the simple pleasures of good songwriting, performed by charismatic singers, captured elegantly onscreen. And that’s not nothing! However, come the one-hour mark, Dominik does work in more interview footage, revealing a film in many ways structured as a response to its predecessor.
  15. The History of Concrete
    Between meaning and mayhem. This meandering but laser-focused essay film is, like the best episodes of Wilson’s show, sustained by parallel dramatic questions that inevitably answer each other by the end.
  16. Brian
    Ropp’s darkly funny and ultimately sweet-natured comedy is a promising start for the actor-turned-director. With a little more scope, his next film will be even better.
  17. Arrival
    Though the film is not more than sum of its parts, well, those parts are pretty great. You just wish they belonged to a slightly deeper film.
    • 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.
  19. Weapons
    The non-linear shape of its story doesn’t just allow Weapons to disguise the age-old genre pattern of tension and release, it also allows Cregger to condense it until he’s completely elided the distance between horror and comedy, terror and relief, self-control and surrender.
  20. Everything Everywhere All at Once
    Here is an orgiastic work of slaphappy genius that doesn’t operate like a narrative film so much as a particle accelerator — or maybe a cosmic washing machine — that two psychotic 12-year-olds designed in the hopes of reconciling the anxiety of what our lives could be with the beauty of what they are.
  21. Close
    Beautiful as Dhont’s eye for detail can be, and vital as his willingness to explore the unbearably tender pockets of adolescence often proves here, Close still finds its sensitive — if sometimes borderline sadistic — young filmmaker defaulting to universal pain whenever he fears that more personal feelings may be too poignantly ethereal to see on camera.
  22. After Love
    Anchored by a nuanced turn from Scanlan that can hang with some of the best Italian Neorealist performances, the film ends up a beautiful, jagged exploration of the messy nature of being human.
  23. The Dissident
    It makes up for a dry and sometimes stilted filmmaking approach through sheer clarity of purpose.
  24. Top Five
    Rock's savage wit comes through in the wry screenplay, which is loaded with topicality as it pokes fun at subjects ranging from Tyler Perry movies to Angry Birds.
  25. Closet Monster
    Dunn plays around with perspective and style, but all the flash doesn't obscure the film's emotion and heart, which are deep and true.
  26. Godland
    An arrestingly beautiful and philosophically imposing bilingual historical drama about the arrogance of mankind in the face of nature’s unforgiving prowess, the inherent failures of colonial enterprises, and how these factors configure the cultural identities of individuals.
  27. Youth (Homecoming)
    While Youth (Homecoming) certainly benefits from the seven hours of weaving-machine whir that preceded, the film quite ably stands alone.
  28. Coco
    Fresh and stale in equal measure, Coco represents the best of what Pixar can be, and the worst of what they’ve become.
  29. My Joy
    Deeply sorrowful and drenched in ambiguity, My Joy adopts a patient rhythm that departs from reality while studying it in depth.
  30. Bridge of Spies
    While the rousing tale of espionage has plenty of appealingly old-fashioned qualities, there's no doubting Spielberg's ability to devise visually arresting moments that speak to the movie's themes far better than its story.
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