IndieWire's Scores

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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:
  1. Positive: 3,579 out of 5181
  2. Mixed: 1,335 out of 5181
  3. Negative: 267 out of 5181
5181 movie reviews
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  1. Like Crazy
    In Sundance terms, Like Crazy qualifies as this year's "Blue Valentine," but it's more observational about the details of a doomed relationship than relentlessly bleak like the aforementioned Derek Cianfrance movie.
  2. Equity
    What makes Equity such a vital feminist film, even when its other qualities are often few and far between, is how defiantly it internalizes that idea.
  3. It Must Be Heaven
    This poignant, minor-key work from the only major filmmaker to carry the torch of silent comedy into the 21st century is rich with feeling, even as it enters a self-reflexive zone that sometimes distracts from the legitimate concerns at its core.
  4. The Damned Don't Cry
    The Damned Don’t Cry is excellent, asking tough questions about society and morality without easy answers or neat conclusions. Non-actors populate the cast, performing terrifically, in one of many nods to the neorealist tradition out of which Pasolini’s film emerged.
  5. I Used to Go Here
    Armed with her funniest material to date and a winning performance from Gillian Jacobs, the filmmaker finds new dimensions for both her work and the millennial ennui that has always inspired it.
  6. A Somewhat Gentle Man
    Cold-blooded killers rarely look this pathetic, which testifies to the impressive balance of Skarsgård's amusingly low-key performance.
  7. Family Romance, LLC
    While the movie’s rough production values and meandering plot never quite gel, Family Romance, LLC is a fascinating convergence of filmmaker and subject, providing the rare opportunity for Herzog to bury his observations in the material at hand.
  8. Selena Gomez: My Mind & Me
    It’s not a movie about healing so much as a movie about learning to hurt in the healthiest way possible. And if its diaristic, inside-out approach has the strange effect of keeping us at a distance . . . it also invites its most vulnerable young viewers to appreciate that even their favorite superstar is still fighting to be closer to herself.
  9. Crazy, Stupid, Love
    Unquestionably stands above the market standard for middlebrow comedies, but it repeatedly approaches greatness and stands down, beholden to forces quite possibly beyond the directors' control.
  10. Deepwater Horizon
    It turns a major tragedy into a minor disaster movie.
    • 68 Metascore
    • 67 Critic Score
    Limbo
    Though it’s admirable that Sayles shows so much ambition to change his style and to give his film such a weight of unpredictability, he doesn’t really succeed at matching the depth of the film’s first half.
  12. Lamb
    Lamb takes a low-key minimalist approach to its premise that invites a certain shock-and-awe reaction before doubling back to give it purpose.
  13. Fighting with My Family
    The beats of Fighting With My Family are comfortingly familiar, and the soap opera pomp of the wrestling world is eye-popping to both fans and neophytes alike, but it’s Pugh that is always fresh, surprising, and wily. The film might not hit hard, but Pugh never stops doing just that.
  14. Mr. Jones
    Mr. Jones is stymied by the clarity of its hero’s crusade. Exasperatingly scattershot for most of its long running time, this restless and misshapen film suggests its director’s nagging discomfort with a straightforward history lesson.
  15. End of Watch
    By virtue of its style and high stakes scenario, End of Watch is impressively tense, but then so are most episodes of "COPS," which don't suffer from the forced melodrama found here.
  16. Manhunt
    It’s hard not to smile when John Woo is having this much fun, or to care about the future when the old-fashioned has this much style.
  17. Three Months
    There need to be more films like this, if only so the LGBTQ kids seeking them out will realize how normal their own experiences are.
  18. William Shatner: You Can Call Me Bill
    There’s a candor and a rawness here that’s inherently compelling.
  19. Potiche
    Potiche successfully satirizes the gender politics at its core. At the same time, it knowingly mocks the obsession over debates about the suppression of women that pervaded the culture during the movie's setting.
  20. Smile
    Overall, Smile delivers a captivating and claustrophobic mental hellscape that will cause one to both grimace and grin.
  21. Borat Subsequent Moviefilm
    This searing brand of humor has never felt more essential. Blending activism with entertainment, Baron Cohen’s best movie to date gives us new reasons to be afraid of the world, but also permission to laugh at it.
  22. The Conjuring
    Wan seems to critique the third act failings of The Conjuring during the alarmingly superior first half.
  23. The Meddler
    The charm of The Meddler isn't the kind that benefits from big pushes forward in narrative or massive plot movements, but it revels in heart-warming humor, vibrant characters and what's clearly a deep affection for its story.
  24. What She Said: The Art of Pauline Kael
    Despite that iffy start, Garver’s film blossoms into something more comprehensive than complimentary, a film that doesn’t balk at the trickier aspects of Kael’s career, even as it never fully engages with the tensions that informed her.
  25. Tiger Stripes
    With its use of body horror taking a backseat just when it might have worked best, Nell Eu is seemingly reluctant to make a B-movie, having written a script that could make for a fantastic one. That makes “Tiger Stripes” good, rather than great.
  26. Song of Granite
    For an artist whose work in a proud and robust tradition carried a recognizable grace, Song of Granite is a stirring, solemn tribute.
  27. Unclenching the Fists
    Unclenching the Fists turns out to be hardly the neorealist dip into misery that some of the film’s more disconnected camerawork from DP Pavel Fomintsev promises.
  28. What You Gonna Do When the World's on Fire?
    What You Gonna Do When the World’s on Fire? is hardly a disappointment, but it does, in places, feel like a missed opportunity.
  29. Minyan
    In Minyan, the arresting and evocative feature film debut from documentary filmmaker Eric Steel, the search for answers turns up far more riches than any half-baked conclusion ever could.
  30. The Homesman
    Jones' alternately skillful and irreverent approach results in a mixed bag of possibilities, with many terrifically entertaining on their own even as the overall picture remains muddled.
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