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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  1. Midnight's Children
    At times Midnight's Children balances off its earnestness with a sweeping view of history and tangible human drama, but the allegorical qualities of Rushdie's novel fail to translate as anything but a shrill, on-the-nose instance of thematic overreaching.
  2. Blancanieves
    If nothing else, Blancanieves offers an excellent case for revisiting the early days of cinema -- and for recognizing how much has been lost in its absence. While "The Artist" recalled the silent film industry, Blancanieves solely pays tribute to the art.
  3. Wrong
    In its wonderfully irreverent way, Wrong makes it clear that this reality is never to be trusted as anything more than a succession of strange moments that coalesce into an abstract representation of the subjectivity that traps us all. This is the essence of new film noir, which challenges our perceptions through a series of compellingly ambiguous moments.
  4. Spring Breakers
    Atmospherically, Spring Breakers is an elegant evocation of noir storytelling, littered with misdeeds with girls and guns at every turn.
  5. Trance
    Boyle's filmmaking style has a marvelous rhythm that weaves pop sensibilities into fluid and persistently exciting narrative experiences; he shakes these ingredients like colored sand in a jar, leading a fascinating degree of discombobulation.
  6. Everybody Has a Plan
    Eventually suffers from a lack of new ideas beyond its initial premise that finds the two brothers inadvertently swapping roles. Once that happens, the movie takes one bland twist after another.
  7. Dog Pound
    Chapiron stubbornly avoids an uplifting message, portraying his dangerous setting as a demonstration of virility that leads to madness.
  8. Love Is All You Need
    As Love Is All You Need goes through the motions of drawing its central couple together, Bier delivers nothing more than a well-made, strictly middlebrow entertainment with a bittersweet polish that's easy to enjoy and forget in equal measures.
  9. Jobs
    The movie is constantly at war with attempts to provide an honest portrayal, almost as if its subject were reaching beyond the grave to steer any negativity back in the direction of a hagiography.
  10. The Act of Killing
    Playing make believe with murderers, Oppenheimer risks the possibility of empowering them. However, by humanizing psychopathic behavior, The Act of Killing is unparalleled in its unsettling perspective on the dementias associated with dictatorial extremes.
  11. Blue Caprice
    Moors isolates a well-known drama with the fleeting nonfiction prologue and explores it from the inside out: It's not an attempted reenactment, but it does aim to get at certain truths.
  12. Gimme the Loot
    A stitched-together combo of outlaw energy and bittersweet romance that gives the impression of Little Rascals in the big city. Like the graffiti art it documents, it's a lovingly handmade affair.
  13. I Killed My Mother
    Xavier Dolan's I Killed My Mother marks the emergence of an exciting new filmmaking talent. The Montreal actor, a mere 20 years old, displays a startlingly mature perspective on human behavior in his triple threat position as writer-director-star.
  14. Reality
    The reality-show aesthetic pervades the movie as well. Garrone's roaming camera style draws you into each moment with extreme close-ups and long takes that wander through each scene and get lost in it. Luciano's plight is crushing because Garrone renders it with such detail.
  15. Fruitvale Station
    Fruitvale is largely sustained by Jordan's career-making performance and the way Coogler uses it to analyze his subject...It's a fascinating investigation into the contrast between media perception and intimate truths.
  16. Evil Dead
    An ode to the strength of onscreen horror even in its less inspired state, the new Evil Dead primarily succeeds at illustrating how the originals have managed to stand the test of time.
  17. Much Ado About Nothing
    Call it a Shakespearean catharsis or just call it a lark -- either way, the movie represents Whedon's least essential work, regardless of the material's inherent comedic inspiration.
  18. Stories We Tell
    Stories We Tell marks the finest of Polley's filmmaking skills by blending intimacy and intrigue to remarkable effect.
    • 58 Metascore
    • 67 Critic Score
    Populaire
    The problem, as with most romantic comedies, is that there are no shocks in the story.
  20. At Any Price
    Too late, At Any Price displays the presence of a skilled filmmaker capable of using ambiguous pauses and representational imagery to convey the issues of greed and other covert desires. Until then, it's a slovenly affair only distinguished by its name cast.
  21. The Place Beyond the Pines
    That the movie succeeds both as a high-stakes crime thriller as well as a far quieter and empathetic study of angry, solitary men proves that Cianfrance has a penchant for bold storytelling and an eye for performances to carry it through.
  22. The Sapphires
    Marred by excessive sentiment, it has a buoyancy and a hook that makes it stand out -- but they're elements that would help it kill on Broadway (as it already has on the Australian stage) a lot better than it does onscreen.
  23. To the Wonder
    To the Wonder renders the familiar terrain of romantic dysfunction on a grand scale. Malick haters may not change their tune, but at least they can admit that To the Wonder maintains a consistent thematic focus.
  24. The Way, Way Back
    Small touches point to a slightly better movie hiding beneath most of the routine, particularly the respectable finale that stops just short of the clichéd resolution expected of it. On the whole, however, The Way, Way Back dances to a tune we've heard too many times before.
  25. The End of Love
    There are powerful ingredients here, certainly enough to create a deeply felt work, but The End of Love lacks the additional layers of storytelling necessary for Webber to make the audience feel as close to the material as he does to his son.
  26. Ginger & Rosa
    A viscerally charged movie that foregrounds surface tensions and gripping performances, Ginger and Rosa is the filmmaker's most accessible and technically surefooted work to date.
  27. Beyond the Hills
    Mungiu's method creates the feeling of being submerged in a maze of confrontations and chatter, but the build-up gets so tiring that the concluding scenes come as a relief instead of a payoff.
  28. Frances Ha
    At times, Frances Ha strains from emphasizing the characters' snarkiness and disregarding plot. By routinely going nowhere, however, the movie eventually finds a distinctive voice that carries it through.
  29. Red Flag
    This could be a recipe for excessive self-indulgence, but the meta quality of Red Flag is entirely irrelevant to its low key charm and persistent irreverence -- anchored, as always, by Karpovsky's loopy screen presence.
  30. Rubberneck
    Rubberneck has more in common with the growing Karpovsky oeuvre than it may appear -- and even inadvertently critiques it.
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