IndieWire's Scores

For 5,181 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:
5181 movie reviews
  1. Love & Mercy is an engrossing portrait of Wilson's specific artistic inclinations, which draw from no real precedent.
  2. A totally wacky head-trip with midnight movie sensibilities and a daring avant garde spirit, Glazer's movie is ultimately too aimlessly weird to make its trippy narrative fully satisfying, but owes much to Johansson's intense commitment to a strangely erotic and unnerving performance unlike anything she has done before.
  3. What starts as a blandly divided documentary eventually finds its way to something inspiring, infuriating, and unbounded by old ideas.
  4. This is an assured debut that sketches the relationship to state power that the marginalized contend with in London and the world beyond. Too muted in emotional effect to bring home a flirted-with theme of solidarity, the world-building still brings to life in the spirit that animates even the most besieged communities.
  5. Russell and Karpovsky are a winning pair, and if they ever want to hit the road for more big jokes and even bigger revelations, any director would do well to let them take the wheel.
  6. Once the menacing and mysterious Screenslaver is introduced, inciting a Spielberg-level monorail chase that reaffirms Bird’s lucid gift for kinetic and character-driven action filmmaking, the movie blasts off and never looks back.
  7. The Ivory Game may be a harsh wakeup call to anyone concerned about the future of the largest land mammal, but it’s also a keen evaluation of the efforts being made to correct the situation.
  8. De Wilde doesn’t strain for relevance or reinvent the wheel, she just unapologetically serves dessert for dinner until you’re left with the satisfaction of eating a three-course meal.
  9. It’s one of the most exciting midnight movies of 2023.
  10. That Tortorici pulls this twist off is both perverse and pleasurable, and that he keeps it all feeling funny is even better.
  11. While it eventually devolves into exploring the terrifying prospects of something hairy lurking about in the shadows, Goldthwait uses that thrill factor to validate the commitment of Bigfoot believers. Willow Creek never feels like an attempt to proselytize, but it's a smart recognition of the dangers involved in doubt.
  12. Wheatley’s commitment to crowdpleasing antics makes it difficult to stop and consider the lack of depth. In a universe of shootout clichés, Free Fire manages to carve out its own niche, where the proverbial last man standing matters less than the journey to get him there.
  13. A bonafide family drama, proof that the noir has humanistic roots. It left me feeling thankful for persistent movie traditions.
  14. Much of this quiet, slow-burn character study inhabits the dreary, remote quality of Doña’s existence, but with time, the movie pieces it together to reveal the emotional solitude lurking beneath that distant gaze.
  15. It makes you recognize, through the force of its telling, why the story of Poitier’s life matters. And will matter forever.
  16. Showing the uneasiness of a first-time documentarian, Rapaport has a difficult time exploring the drama. That has extended beyond the movie itself and into a long-running media dispute with Q-Tip, who has refused to plug the movie.
  17. While nothing in your life may come as easily to you as everything in Coldplay’s lives seems to have come to them, this delightful and unexpectedly inspiring documentary has a funny way of making your dreams seem closer than they might appear.
  18. In a world where everyone feels lonely, Amanda might be our most authentic avatar, someone willing to get super weird in the hopes it will lead somewhere great. For Cavalli and “Amanda,” the results speak for themselves: The film, and its titular heroine, are great indeed.
  19. Chastain and Sarsgaard give a pair of haunting, expert performances as damaged people making sense of their own agony together. Franco gets out of the way of his actors without manipulating them.
  20. Story Ave approaches the challenges faced by a talented artist in underprivileged circumstances with a clear head, always pivoting away from simplistic narratives and towards reality.
  21. Hypnotic from start to finish and unexpectedly hopeful for a movie with so much arsenic in its blood, Islands knows that even the greatest of vacations can never compete with the rewards of fostering a reality you actually want to return to when it’s over.
  22. Leviticus is not a perfect horror film . . . But the film’s moody atmosphere — including a soundtrack full of clanks and bangs — makes it an enjoyably disquieting ride.
  23. While this nasty film seems headed toward a conclusion where the rich win and the status quo is maintained, that’s abruptly shattered by a violent climax that assures that no one on either side of the divide is left without a bloodstain.
  24. As a director, he finally shows a willingness to work on the same wavelength of the material instead of adding distracting bells and whistles that overstate his characters' grievances.
  25. And, really, it does something wild, something increasingly rare along the way: it makes you feel, as messy and strange and unexpected as that might be. Now that’s a super story.
  26. Maintaining a feel-good tone without becoming saccharine, “Rez Ball” is a charmer with enough of an edge to keep viewers on their toes.
    • 54 Metascore
    • 83 Critic Score
    There’s something especially primordial, even biblical, about director Lucio Fulci’s grisly spectacle.
  27. the film isn't always successful at justifying its heft, repeating the central father-daughter tension innumerable times before the pair finally start to make some progress. It's only thanks to the two actors' extraordinary authenticity that the film continues to work as long as it does.
  28. Like its star, Anna and the Apocalypse merrily charges through danger. It’s a genre mash-up populated with cliches...but McPhail finds small moments to make his characters unique.
  29. It’s the kind of film that steadily trains you in perceiving and eventually becoming lost in its sense of time, to the extent that you can almost forget the presence of the camera even when it is moving. You’re living in the frame with Thien; the timing of the camera and character naturally intertwined.

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