IndieWire's Scores

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For 5,164 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 4.5 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: 3,565 out of 5164
  2. Mixed: 1,333 out of 5164
  3. Negative: 266 out of 5164
5164 movie reviews
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    • 43 Metascore
    • 58 Critic Score
    Based on a True Story
    A stylish but ultimately stiff collection of old tropes about writers and their audience, fiction vs. reality, and the Other that becomes you.
  2. Ismael's Ghosts
    At its best, the movie is a freewheeling gambit, hurtling in multiple directions at once, and it’s thrilling to watch Desplechin try juggle them all. [Cannes Version]
  3. You Were Never Really Here
    It’s an enticing challenge for the writer-director to develop a stylish mood piece out this flimsy material, adapted from a Jonathan Ames novella as a series of textured moments. The movie is an elegant homage to a mold of scrappy detective stories that often collapses into a concise pileup of stylish possibilities.
  4. Godard Mon Amour
    Light and inoffensive, it trades the intellectual rigor of Godard’s work for fluffy sentiments, but never gets crass. Above all else, it succeeds at transforming cinephile trivia into a genuine crowdpleaser.
  5. Jupiter's Moon
    Jupiter’s Moon is no simple story of escape, in part because Mundruczó’s script (co-written with Kata Wéber) has no real idea where it’s going.
  6. Happy End
    Rather than smothering the material in bad vibes, the filmmaker uses them to gradually reveal a fascinating world in which anger and resentment becomes the only weapon any of these people know how to wield.
  7. Loveless
    While not the same league as “Leviathan,” Zyvagintsev’s latest slow-burn look at anguished people tortured by problems beyond their control displays his mastery of the form.
  8. Let the Sunshine In
    As slinky as the reflection of a neon sign trailing across the hood of a black sedan, this is a slight movie, shot on a whim just a few months before its world premiere, and it feels cobbled together in its search for some kind of meaning.
  9. Double Lover
    A fitfully amusing erotic thriller in which nothing is what it seems, anything could happen, and everything is at least a little ridiculous.
  10. BPM (Beats Per Minute)
    Assembling the story out of small moments and gripping exchanges, Campillo grounds this earnest drama in a sense of purpose.
  11. Lover for a Day
    The always-understated director never mines the domestic situation for excessive melodrama, instead opting to step back and wryly examine the three leads’ contradictory impulses.
  12. Filmworker
    [A] suitably workmanlike documentary.
  13. The Square
    The director excels at generating a nervous energy around his character’s mounting desperation, and the movie’s intermittently engaging for that reason alone.
  14. Hermia & Helena
    By positioning Shakespeare within a chatty tale of young adulthood — and giving it a feminist slant — Piñeiro proves the vitality of the material without becoming subservient to it.
  15. Good Time
    After such powerful momentum, the brothers don’t quite stick the landing, but it’s a thrill to watch them try.
  16. The Day After
    The film is carried along on a powerful undercurrent of regret, and it comes to feel as though Bong-wan is a prisoner in the book-lined office where he ostensibly holds all the power.
  17. The Florida Project
    The Florida Project further cements Baker’s status as one of the most innovative American directors working today, but he’s also an essential advocate for the stories this country often doesn’t get to see.
  18. The Killing of a Sacred Deer
    Fortunately, the filmmaker’s rare gift for brutal absurdity remains intact, and The Killing of a Sacred Deer only gets funnier as it grows darker.
  19. The Beguiled
    The Beguiled is a lurid, sweltering, and sensationally fun potboiler that doesn’t find Coppola leaving her comfort zone so much as redecorating it with a fresh layer of soft-core scuzz.
  20. The Meyerowitz Stories (New and Selected)
    The Meyerowitz Stories (New and Selected) isn’t the wittiest or most exciting movie that Noah Baumbach has ever made, but it might just be the most humane.
  21. Wonderstruck
    This is a soul-stirring and fiercely uncynical film that suggests the entire world is a living museum for the people we’ve lost, and that we should all hope to leave some of ourselves behind in its infinite cabinet of wonders.
  22. Baywatch
    Baywatch won’t blow anything out of the water (except for the boat it sets on fire), but it will certainly make a splash.
  23. Blame!
    The film’s world-building is more engaging than its plotting, which skews toward the generic as the embattled good guys set out on their last-ditch effort to save what remains of humanity; there’s a sense, while watching Blame!, that there are more interesting stories on the fringes of this tribal future.
  24. Everything, Everything
    It may not break the mold in many ways but one, but the impact of that one is far from trivial.
  25. War Machine
    The movie veers from the broad doomsday satire of the “Dr. Strangelove” variety to a more subtle portrait of institutional failure, and doesn’t always succeed at modulating its tones, but it’s nevertheless a searing critique.
  26. Lost in Paris
    The pair blends storybook visuals with a stream of clever gags and oodles of pathos to deliver an infectious romance almost too eager to please at every turn.
  27. Pirates of the Caribbean: Dead Men Tell No Tales
    Kon-Tiki directors Joachim Rønning and Espen Sandberg are at the helm this time around, proving capable captains even if the script they’re working from isn’t always seaworthy.
  28. Term Life
    Perhaps the most damning thing that can be said about Term Life is that it’s exactly the limp, shapeless, and forgettable kind of thriller you might expect from the director of “Couples Retreat” (Peter Billingsley, a.k.a. Ralphie from “A Christmas Story”).
  29. Blade of the Immortal
    For all the great action and idiosyncratic antagonists (Erika Toda, as a brutally efficient warrior who can’t stomach violence is a particular standout) Blade of the Immortal is altogether too much.
  30. Okja
    As with Snowpiercer, this is a story almost too eager to fire in multiple directions, sometimes with messy results, veering from broad satire to softer exchanges with little regard for finding balance between the two.
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