IndieWire's Scores

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:
5179 movie reviews
  1. The Death and Life of Marsha P. Johnson is particularly suspenseful for the way it recollects the past through the prism of a murder mystery, brilliantly fusing an archival history with the elements of a detective story.
  2. Slickly paced and carried by mature performances, Flight embodies one of the finer strains of Hollywood filmmaking in recent years.
  3. As much as it’s a movie about one man’s struggle, it’s a family drama too, and the way his paralysis shifts their dynamic over the years is enrapturing to watch.
  4. The Trial of the Chicago 7 is exactly as advertised — a giant, giddy burst of earnest theatricality, loaded with a formidable ensemble that chews on every inch of the scenery, that overall makes a passionate case for the resilience of its formula more than using it as an excuse.
  5. This riveting and highly unusual shoot-em-up finds Kurosawa returning to his roots, only to discover that psychological terror isn’t quite as abstract as it used to be.
  6. Director Alonso Ruizpalacios’ exciting and unpredictable look at a pair of Mexico City police officers blends documentary and narrative techniques to deliver a refreshing and innovative look at the challenges of modern-day police work — as well as the underlying corruption that makes the most earnest officers vulnerable to a system rigged against them.
  7. Hewson never sees her as some kind of tarty punchline – neither does Carney, and neither will the audience. You know all that stuff about “strong female characters” who are also “flawed” or “human” or whatever other insane word salad Hollywood is still requiring of its female leads? Here’s a real one.
  8. This is a study of power, and what power will do to survive; a study of how morality is more historically significant as a condition, and not a cause. The rich won’t save us — that’s what makes them rich. The fascinating Citizen K will leave you to determine the value in one of them saving themselves.
  9. The Light of the Moon is a lucid, clinical, and wholly necessary drama about life after rape, and the while the film is far more watchable than it might sound (thanks in large part to Stephanie Beatriz’s rich and involving lead performance), viewers should know what’s in store for them.
  10. An entertaining and informative new documentary, Denise Ho: Becoming the Song, reveals the singer’s motivation and personal sacrifices while also offering a vital survey of Hong Kong history and the fight for independence.
    • 76 Metascore
    • 83 Critic Score
    It’s a muscular, high-octane story about cops living above the laws they’re paid to enforce, and growing more desperate and dangerous with every threat to their unchecked power.
  11. This is an idea familiar to anyone who has waded through Bigelow's universe of conspiratorial agendas in which no good deed goes unpunished, and might not be a good deed at all. Cartel Land plants that dilemma in our backyard, and ends with the tangible perception that it won't go away anytime soon.
  12. While the moments focused on the kids’ lives are the best part of the film — James and Ramirez have natural chemistry and are compelling to watch — Baig occasionally falters on that front too.
  13. The Meaning of Hitler doesn’t have to make sense of this decade’s chaos to clarify just how much it remains vulnerable to the same complaisant attitudes exploited by the German leader decades ago. The movie isn’t just another cautionary tale; it’s a jagged intellectual wakeup call that cuts deep, and America can’t hear it enough.
  14. While much of the film is built on repressed pain, there are moments of celebration, some reconciliation, and even laughter.
  15. Lane has an unmatched ability to strike the right balance between anger and absurdism, and frames the Temple in a revelatory moral light.
  16. There’s no outright preaching, no plea to condemn or sympathize either way. What unfolds is far more complex, morally speaking, even if the bones of the narrative and how it’s shot are deliberately pared down.
  17. The Whistlers goes down easy and dissipates soon after the credits roll, but with a murky plot in which the heist in question is often beside the point, the accomplishment of the movie lies within what it says about that agreeable flow.
  18. Director Janicza Bravo’s zany road trip comedy about a pair of strippers on a rambunctious 48-hour Florida adventure embodies its ludicrous source while jazzing it up with relentless cinematic beats.
  19. A bundle of taut nerves stretched to their vomit-inducing breaking point, Talk to Me, the directorial feature debut from Australian Youtube brothers Danny and Michael Philippou, is the type of horror film whose effectiveness arises from its barebones simplicity.
  20. McQueen’s pointillistic approach invites our minds to wander freely between then and now, his film less interested in shuddering at the specifics of its awful facts than it is in probing our ever-evolving relationship to them, but the documentary’s monotonousness resists deeper engagement.
  21. The beautifully lensed drama is, like its protagonist, compelled and often obsessed by the human shape and form, and Ahn’s film artfully uses the physical to tell a mostly standard issue coming-of-age story with style.
  22. The film is a wild ride and a loving portrait, providing a vital record of this outsized figure who was so ahead of his time it seemed as though he transcended the laws of the universe.
  23. More than a cock-eyed peek back at an unprecedented culture clash, the film provides a bittersweet glimpse at a small, stained-glass window of time when anything seemed possible, and the concept of change was rich with promise.
  24. The Hand of God doesn’t always find the clearest way of knotting these various stories together, and the film’s second half — replete with so many highs — also feels like it leaves a number of important characters dangling in the wind.
    • 76 Metascore
    • 91 Critic Score
    Like its central character, Listen Up Philip exudes a kind of highbrow affectation that charms more than it alienates.
  25. The musicality of Diao’s cinema has never been more symphonic, but it comes at the expense of his ability to properly conduct this script.
  26. In Son of Monarchs, Gambis has mapped the butterflies’ migratory paths and genetic patterns onto Mendel’s search for belonging. It’s an inspired blend of science and narrative, and an affecting allegory emerges from the unique imagery.
  27. Wonder Woman is as much about a superhero rising as it is about a world deserving of her, and Diana’s hard-won insistence on battling for humanity (no matter how frequently they disappoint) adds the kind of gravitas and emotion that establishes it as the very best film the DCEU has made yet. There’s only one word for it: wonderful.
  28. A murky, vaguely sinister, but ultimately dreary coming-of-age film about a young woman’s blossoming sexuality under the spell of her mother’s old flame.

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