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. The movie isn't political so much as philosophical, trashing the notion of the American dream as anything more than fodder for an endless rat race.
  2. Downsizing is rife with witty visual touches and inspired comic premises but never quite comes together as fully successful whole.
  3. It seems odd to deem any film an instant cult classic, but “Barb and Star” is such a giddy outlier, a dense, flawed assemblage of zany humor that people will happily tear into for years to come.
  4. By its final act ... “The Lost King” picks up enough steam ... yet even this last 40 or so minutes highlights how plodding the rest of the film is, how dull this story about literal grave-digging feels, when nothing less than elemental truth and a singular mission in life are reduced to, well, just a story, and not even an altogether real one at that.
    • 64 Metascore
    • 83 Critic Score
    Drawing from the wellspring of her own life, Forbes' agile tone allows the film to indulge in heartbreak and humor with equal measure.
  5. Erratic, unpredictable and constantly intriguing, Miles Ahead plays more like one of Davis' compositions than a traditional biopic, stumbling around with flashes of insight and a brilliant central performance.
  6. Writer-director David Ayer’s brash, assaultive Brad Pitt drama manages some evocative imagery and achieves visceral impact by enacting a hellacious atmosphere that never lets up — but Ayer takes the mission too literally, and winds up literally lost in the fog of war.
  7. Throughout the film, Noxon refuses to offer up easy answers and feel-good conclusions to Ellen’s journey, even when it ratchets up into a literally overheated final discovery.
  8. If, when printed and sent off for posterity, a snapshot like “Coma” offers a small degree of archival value — while answering the question Bonello poses at the start — it might also arrive as a postcard from a time all-too-thankfully gone by.
  9. The result is a dated mishmash that makes a credible but halfhearted bid for relevance by triple-underlining the common theme of the much better movies that inspired it: White male bitterness is the most blithely destructive force on Earth.
  10. In a movie that likens passing legislation to pulling off a massive heist, eventually departing from reality altogether in a series of late-game twists so intricate they would make Danny Ocean blush, the sheer velocity of Chastain’s performance holds it all together.
  11. You’re reminded of the all-time “Twilight Zone” chillers that left you pondering and unsettled in your living room, questioning how well you knew the people sitting next to you. Given the current state of things, you’ll have to experience Vivarium in much the same way.
  12. No matter its oddball turns, Kiwi director Ant Timpson’s wild, unpredictable debut manages to deliver a gory hilarious father-son reunion saga with a surprising degree of confidence in the silly-strange nature of the material.
  13. Scene by scene, Marks’ film plays like a traditional high school-set rom-com, but things take a turn as Aza’s illness becomes more obvious.
  14. The Happy Prince largely amounts to a bland rumination on Wilde’s lesser-known decline.
  15. Dennis Farina's washed-up hustler in The Last Rites of Joe May is designed in the in the mold of a classic movie star tough guy, but the veteran character actor's performance also serves to disassemble it.
  16. With a thinly sketched premise and a Hail Mary pass at emotional depth arriving late in the final act, the film feels like a series of vignettes draped around Stalter’s charms. Unfortunately, charisma alone doesn’t make an interesting narrative.
  17. Five years after his rambling "Capitalism: A Love Story," the filmmaker bounces back from one of his worst films with one of his best — a surprisingly endearing set of suggestions for a better tomorrow.
  18. As coming-of-age stories about wayward teens go, writer-director Jason Orley’s debut is a sturdy, endearing portrait of youth in revolt that takes few surprising turns. But the two actors sell their dynamic well enough to inject the story with palpable authenticity despite the familiar premise.
  19. 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.
  20. "Skywalkers” also seems to gloss over too much. It never fully probes the mental state that drives someone to do this kind of thing in the first place, instead dealing with the squabbles that nearly wreck their union.
  21. Fearlessly specific in its comedy and just as attentive with its character arcs, this algebraic study in adventure might have a metaphoric typo or two (insert obligatory comment about CGI), but it’s mostly a triumph.
  22. Set in a barren juvenile detention center, the movie works as a grueling coming-of-age story, linking it to the likes of "4 Months, 3 Weeks and 2 Days," even if it lacks the same lasting appeal.
  23. Despite the efforts of its cast, Crown Heights is too crammed and hectic to convey the immensity of the systemic evils that run through its ruptured heart.
  24. It’s a coming-of-age tale for the stunted set, and one that deftly navigates conventions at every turn. Although Tracktown lacks edge, it’s just so relentlessly sweet and Pappas is so effervescent on screen that those missteps in tone are easy to forgive.
  25. A rousing documentary that’s equal parts inspiring, entertaining, and educational.
  26. Snyder casts her net too wide to paint a meaningful portrait of the kids, and follows them too closely to provide much lasting insight into the context of their campaign. And yet, the spirit of their mission shines through.
  27. Like all of the best rock docs, it will make you want to listen to the band’s albums. But after the second hour has come and gone, you might decide that you’ve listened enough, after all.
  28. Despite a bumpy screenplay and some odd tonal choices, Garcia excels as a monosyllabic Bigfoot who casts a big shadow and uses it hide from the world.
  29. Haley’s tender approach may not sting, but it does leave a mark. Yes, it has a happy ending, but the film also makes it clear that such conclusions are only the start.

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