IndieWire's Scores

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For 5,179 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 4.4 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: 3,579 out of 5179
  2. Mixed: 1,334 out of 5179
  3. Negative: 266 out of 5179
5179 movie reviews
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  1. 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.
  2. Rose
    Schleinzer constructs a canny bait-and-switch: The film’s visual language, agrarian setting, and seeming emotional distance at the outset promise a harshly unfeeling European arthouse exercise. Until it isn’t. Until Hüller annihilates your heart.
  3. White Reindeer
    White Reindeer eagerly pokes the mythology surrounding the holiday season narrative to find something hauntingly beautiful lurking beneath it.
  4. Wolfwalkers
    Far and away the best animated film of the year so far (one worthy of such hosannas no matter how limited the competition has been), this heartfelt tale of love and loss is the most visually enchanting feature its studio has made thus far, as well as the most poignant.
  5. Here
    By painting such a rich visual world on the seemingly insignificant canvas of Stefan’s life, Devos offers an implicit challenge to everyone watching around the world. If we can just find ways to be here, wherever that is, we might stumble onto something just as cinematic in our own lives.
  6. 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.
  7. And Then We Danced
    It’s one of the year’s best gay films.
  8. Contemporary Color
    Ultimately, Contemporary Color captures the essence of the event in question with expert craftsmanship, and the filmmaking prowess doesn’t overwhelm the show.
  9. I Killed My Mother
    Xavier Dolan's I Killed My Mother marks the emergence of an exciting new filmmaking talent. The Montreal actor, a mere 20 years old, displays a startlingly mature perspective on human behavior in his triple threat position as writer-director-star.
  10. Sleepwalk with Me
    Sleepwalk With Me calls to mind Judd Apatow's "Funny People" for its focus on the eccentric, obsessive nature of the wannabe comic's mind.
  11. Tim's Vermeer
    Teller's rough, uncomplicated filmmaking style does little to elaborate on Jenison's story, as the subject's unending curiosity singlehandedly carries each scene.
  12. Convento
    By making the inanimate animate, they make nature come to life, and so does Convento.
  13. The Suicide Squad
    The most fun and least depressing superhero movie in a very long time, Gunn’s deliriously ultra-violent “The Suicide Squad” wears the yoke of its genre with a lightness that allows it to slip loose of the usual restraints, if not quite shake them off altogether.
  14. 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.
  15. Beast
    Beast walks the line between taut psychological thriller and doomed genre romance, smartly remaining laser-focused on Moll and her fraying sanity.
  16. MLK/FBI
    MLK/FBI reveals shocking behavior by the American government, but the most troubling aspect of its revelations is that nobody had to answer for it.
  17. Dayveon
    Shot with raw specificity and a remarkable sense of place, Dayveon doesn’t cut through its clichés so much as it is reclaims them as the stuff of real life.
  18. Story of My Death
    Serra's typically cerebral direction has a more vibrant quality due to the clarity of his images, though certain drawn-out sequences have an alienating effect on the drama. Still, Story of My Death manages to connect its profound aims with a devious atmosphere to match the turn of the century backdrop.
  19. A Cure for Wellness
    Verbinski packs so much stuff into his giddy Grand Guignol, and the more he crams in the better it works.
  20. Isn't It Romantic
    Every trope, twist, and trick of the genre is up for skewering in the comedy, but the film keeps things light and smart, never dipping into darkness or crass jokes. It’s funny because it’s clever, but it’s also never cruel.
  21. Orlando, My Political Biography
    Preciado’s Orlando, My Political Biography is a film of many visual pleasures, and they’re ones Preciado clearly shared in while devising this generous and buoyant inquiry into institution and identity.
  22. The Proposal
    The film is itself a provocation; a fascinating document of a years-long conceptual project as well as the final (or next) piece of the complicated puzzle.
  23. Teddy Bear
    A gigantic physique hides the fragile man beneath and Matthiesen ably follows the journey of that persona as it tunnels through mounds of muscle to reach the surface. In essence, the lion finds his courage.
  24. Hoppers
    The dimming prestige of the brand perhaps allowed Hoppers the freedom to be something much more modest, and also way more fun and satisfying — a hilarious, joke-a-second comedy that has its moments of sweetness and emotional resonance, but isn’t looking to force tears out of you.
  25. Searching
    Despite the specificity of its story and the manner in which its told, the issues at hand remain universal, including David’s struggle to connect with his child and the way paranoia can make even the best friends into the worst enemies.
  26. The Measure of a Man
    Brizé ("Mademoiselle Chambon") is a humanist, not an economist, and his modest but moving new film is a welcome reminder that — for someone who can't afford to put food on the table or provide a proper education for their child— business is always personal.
  27. Vox Lux
    Vox Lux is a powerful, haunting film in part because Portman is a powerful, haunting presence — you can’t turn away from her, even if you occasionally want to.
  28. Indigo Girls: It's Only Life After All
    "It’s Only Life After All” paints a holistic portrait of two artists who became one, crafting a stirring collage of queer history with the engaging archival footage.
  29. Unrest
    Unrest works particularly well once Brea looks beyond the limitations of her own bedridden experiences to document other cases worldwide, providing a stirring collage of stories to illustrate the destructive impact of the disease and why it remains widely neglected by the medical community.
  30. Bodies Bodies Bodies
    Populated by a feverish humor and governed by fatalistic doom, Reijin’s Bodies Bodies Bodies moves with a slapdash pace that belies its sturdy aesthetic construction.
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