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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    • 54 Metascore
    • 75 Critic Score
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    Though Blumberg treats the topic with admirable frankness, the film’s insights would’ve had more impact if he wasn’t so quick to hop to the next storyline whenever matters get especially thorny.
  2. A Band Called Death
    A Band Called Death lacks the thrill of mystery but makes up for it with pathos.
  3. Museum Hours
    With a keen eye for the capacity of fine art to address a complex range of attitudes and experiences, Museum Hours effectively applies Cohen's existing strengths to a familiar scenario and rejuvenates it by delivering a powerfully contemplative look at the transformative ability of all art.
  4. The Attack
    The conflict in The Attack is less about the reasoning behind immoral behavior than the problems involved in any cursory understanding of it.
  5. Redemption
    As a statement about the fixed nature of cinematic tropes, Redemption provides a compelling supplement to Statham's current stardom.
  6. World War Z
    World War Z may wear its intellect proudly, but also consciously translates the zombie premise into a safer context for wider audiences. It's not the smartest zombie movie ever made, but might be the most commercial one.
    • 56 Metascore
    • 100 Critic Score
    The Secret Disco Revolution
    The Secret Disco Revolution is the doc that disco deserves – rigorous, critical and entertaining.
  8. I'm So Excited
    A gleefully over-the-top celebration of silliness too in love with its outrageous characters and premise to make them gel. Scene after scene features a self-satisfied kookiness akin to spending time with a terrible comic unwilling to give up the mic.
    • 67 Metascore
    • 83 Critic Score
    This Is the End
    Rises above the over-tired gross-out comedy genre partly because of its meta celebrities-parodying-themselves trick, but it mostly stands out because it's genuinely funny.
  10. Man of Steel
    While certainly the most dazzling Superman movie to hit the big screen, the 143-minute Man of Steel is also the longest, and it only justifies that heft because it leaves room to keep the effects coming.
  11. Monsters University
    Monsters University, the latest Pixar offering, charms in an excessively familiar way that illustrates a troublesome eventuality: Pixar has lost its edge.
  12. Short Term 12
    Taking its time to let the world take shape, Short Term 12 builds to an involving series of mini-climaxes without tidying up every loose end.
  13. Tiger Eyes
    Directed by Blume's son Lawrence, this gentle drama based on Blume's 1981 novel works surprisingly well considering the numerous trappings of the material, while demonstrating exactly why it's so difficult to bring Blume's work to the screen.
  14. V/H/S/2
    V/H/S 2 smartly contextualizes its nightmarish cavalcade of violence by acknowledging the luxury of enjoying it from a distance.
  15. The History of Future Folk
    Smart in spite of its irreverence, "Future Folk" is the weirdest, most enjoyable fusion of genres you'll see this year.
  16. Blackfish
    The movie makes a strong case against the captivity of killer whales under sub-circus conditions, but the stance is made even more horrifying because so little has changed in the history of the organization. Blackfish is less balanced investigation than full-on takedown of a broken system.
  17. You Ain't Seen Nothin' Yet
    The cumulative effect is occasionally dizzying but transparent, a frantic attempt to cram themes into cinematic conceit.
  18. Shadow Dancer
    While not designed to entertain on the level of style and spectacle that one expects from a Bond film, this tense period drama from the director of "Man on Wire" presents a far more credible take on the daring exploits of British agents.
  19. Blue Is the Warmest Color
    Kechiche excels at capturing his protagonist's emergence in the world.
  20. Young & Beautiful
    At times a rich, intimate observation of emerging sexuality, the movie also maintains a quiet, observational rhythm that peaks around wintertime when things grow dark for the character and then more or less watches her grow up.
  21. The Selfish Giant
    Though slow-going for much of its running time, Arbor's delicate tale culminates with a frighteningly choreographed tragedy, but tacks on a beautifully evocative and mostly wordless epilogue that carries the semblance of progress.
  22. The Past
    Farhadi's new movie confirms his unique ability to explore how constant chatter and anguished outbursts obscure the capacity for honest communication.
  23. Only Lovers Left Alive
    If you can groove with Jarmusch's patient, philosophical indulgences and the wooden exteriors of his characters' lives, the movie rewards with a savvy emotional payoff about moving forward even when the motivation to do so has gone.
  24. The Immigrant
    Gray's fifth directorial effort is a conflicting experience admirable and powerfully executed in parts, cold and meandering in others.
  25. Grigris
    A straightforward tale of overcoming personal and professional challenges with no fancy dressing, Grigris goes down easy but offers nothing remotely fresh.
  26. Borgman
    With its palatial setting, Borgman shows how money can buy luxury, but it can't salvage the corruption that comes from within.
  27. Bastards
    Bogged down by flashbacks and flash forwards, The Bastards pointlessly mixes up its ingredients, creating a distancing effect from the tangible sadness at its core. The result is the rare case of a movie that confirms its maker's skill while wasting it on useless ambition.
    • 50 Metascore
    • 83 Critic Score
    As I Lay Dying
    The film seems to have been made to suggest something of Faulkner's style in a cinematic medium, and it's certainly laudable that there have been very few concessions to the marketability of a project like this.
  29. All Is Lost
    The movie is an impressively realized work of minimalist storytelling that foregrounds Redford's physicality more than any other role in his celebrated career. His performance defines the movie to an almost shockingly experimental degree.
  30. Nancy, Please
    Paul's increasingly hectic attempts to retrieve the book dominate the movie so heavily that it leaves little room for considering how this effort fits into the rest of his world.
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