IndieWire's Scores

For 5,184 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:
5184 movie reviews
  1. With elegant acting from its two young leads and picturesque cinematography from Matthias Koenigswieser, it serves as a competently executed morality play for audiences craving a bit of unambiguous humanism.
  2. Even a movie as evocative and well-mounted as this one can’t help but feel like a shadow of a shadow. It traces the silhouette of “The Strange One” without ever achieving the emotionality it needs to feel her touch first-hand.
  3. It’s not unusual for such high-concept films to indulge in a thorny and fascinating second act only to find itself grasping for a more defined conflict in the third, and that’s essentially what happens here, as the broad philosophical mysteries take Leyla down a rabbit-hole that might be too deep for her to ever climb out.
  4. Luzzu is beautifully shot, if at times emotionally restrained, in its centering around a man who’s occasionally hard to read. But it boast a true discovery in the casting of Jesmark Scicluna, a real fisherman who plays a version of himself, and here playing a struggling parent trying to eke out a living along the docks.
  5. Like Whedon's whip-smart "Avengers" screenplay, Thor: The Dark World manages to acknowledge the inherently silly nature of its premise while compellingly asserting that, hey, sometimes it's fun to suspend your disbelief when the results look this good.
  6. Despite the simple question at the film’s core, Carax is unsurprisingly more interested in assembling compelling images and sounds than offering a sincere look inside the man crafting them. He orbits vulnerability like a moth swirling around a streetlamp, getting ever closer and occasionally touching it before instantly recoiling.
  7. Coggeshall’s script isn’t especially sharp, as the movie really does hinge around that big twist, but the visual approach and performances from the actors give Orphan: First Kill an edge that should satisfy fans of the original.
  8. Bercot's solidly engaging if fairly routine social-realist drama mainly stands out as an actor's showcase.
  9. Bruised isn’t breaking any new ground from a narrative standpoint, but it does show the strength of Halle Berry as a director, boasting a powder keg of dominating performances within a simplistic story.
  10. While there's a casual dissonance to each twist in its winding plot that results in a disconnected and emotionally vapid experience, Detective Dee unquestionably achieves the escapism it intends.
  11. The result is sometimes overlong and wears out its welcome, but it clarifies Hosking’s distinctive tone — a playful and often charming blend of outré humor and genuine emotion that makes him one of the most distinctive new voices in current cinema.
  12. Things get harried in a hurry, and while Duffield doesn’t reinvent the wheel when it comes to the various “Home Alone”-like battles that pit Alien vs. Dever, the “Spontaneous” director stages them with rare aplomb and an unerring respect for the fact that Brynn’s house represents her entire universe.
  13. Chock-full of popcorn nostalgia and fan favorite characters and villains and power moves exactly like what any fan of the long-running saga is looking for.
    • 62 Metascore
    • 75 Critic Score
    Thomas and his co-writer Diane Ruggiero have penned a self-avowed love letter to the fans of the series, but grounded it in a solid thriller with compelling characters and bright comic moments.
  14. While the documentary's structure is somewhat uneven, its protagonists remain fascinating subjects whose recollections — along with backstories fleshed out by their wives and parents — include revelations of much greater challenges than the movie itself.
  15. Black Rock never reinvents the rules, but it understands them just well enough to make its bloodless stabs at ingenuity stand out.
    • 65 Metascore
    • 75 Critic Score
    Even if 1001 Grams isn't Hamer's best, it sees the director's enjoyable style come into full form.
  16. The actors’ gifts are all heightened by Msangi’s delicate touch in this empathetic portrait of immigrant life in America that is, refreshingly, less interested in big drama than in a family quietly building itself back up when it may be too late.
  17. Onward doesn’t reinvent the wheel, but spins it so well that it conjures a spell of its own as a new decade dawns with the Pixar touch intact.
  18. Set in a single location with a cast of five, the movie offers a lesson in minimalist drama, unfolding as a sharply acted mood piece that never crescendos, but hums along with wise observations and first-rate performances.
  19. Khan’s film pulls liberally from the genre playbook — stars and co-writers Ali Wong and Randall Park haven’t been shy about the film’s early inspirations, especially classics like “When Harry Met Sally” — but it also offers its own charms, thanks to Wong and Park, who delight both on-screen and on the page.
  20. In the end, Silent Friend is a film of contradictions, profound, complex, and beautiful, but occasionally interminably boring.
  21. Despite its shortcomings, The World's End glistens with a comedic energy not present in equivalent mainstream blockbusters.
  22. The Super Mario Bros. Movie is a true masterclass in exploiting juicy IP, building out an intricate-yet-familiar world that’s littered with video game Easter eggs that could set up other movies.
  23. Stories that are “timely” or “prescient” may be the norm these days, but Spellbound works a little magic to ensure that such messaging, as important as it may be, doesn’t get in the way of a good time for the entire family. That’s another thing we need now, more than ever.
    • 77 Metascore
    • 75 Critic Score
    Perry and editor Robert Greene switch back and forth between twin time-frames with no fuss or warning - and flashes of virtuoso flair - finding ironic parallels between the happy gathering of the previous summer and the more fraught atmosphere of the present day.
  24. Packed with major talking heads, zippy animation, and a bouncing (and bouncy) sense of time (and timeline), “It’s Dorothy!” succeeds mightily when it comes to its most elemental thesis.
  25. Though its darkness may be alienating, there’s something to be said about a love story that isn’t afraid to admit that one of the lovers isn’t the charming dreamboat he appears to be. And to Golding’s credit, there’s no vanity in his portrayal of Nicolas.
  26. If this was the last romantic comedy of 2023, it’d already have been a great year for rom-coms.
  27. Nobody really asked for another “Charlie’s Angels” reboot, but this one will leave you eager for more. It seems these women might still have the element of surprise on their side, after all.

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