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. W.E.
    W.E. is less outright bad than underwhelming; if the director were unknown, it would hardly deserve notice. Like her first film, the 2008 "Filth and Wisdom," it suffers from countless storytelling flaws.
  2. Tinker Tailor Soldier Spy
    I had to see the new version twice to realize that there's so much to appreciate about this multilayered production.
  3. Young Adult
    With self destruction as destiny, Reitman has made the equivalent of a Roland Emmerich disaster movie writ small, an apocalyptic scenario internalized by a single person.
  4. Outrage
    On the one hand, Outrage suffers from a cold removal from the events portrayed onscreen, mainly a series of arguments and gory acts of retribution. It's often a terrible bore. But the stylish execution renders many moments into imminently watchable pastiche.
  5. Khodorkovsky
    With its subject still behind bars and the Russian government on the brink of reelecting Kremlin's United Russia party, the biggest triumph of Khodorkovsky is the case it makes for a sequel.
  6. The Artist
    The Artist plays around with the distinction between silent and sound cinema, resulting in the superficial entertainment value of a high concept film school joke. But it's a charming and supremely gorgeous joke -- sometimes too clever for its own good, other times not clever enough, and always at least an attractive diversion.
  7. A Dangerous Method
    In the movie's final shot, Jung's confidence crumbles and he looks supremely troubled, still uncertain of a world he once believed could be explained with textual prowess. Better than any analysis, his expression sums up the dangerous method at the heart of every Cronenberg movie.
  8. Rampart
    Rampart is co-written by crime writer James Ellroy as a messy, disorienting noir, and shot by cinematographer Bobby Bukowski with an unsettling degree of realism.
  9. The Descendants
    The Descendants constantly hovers on the brink of a dark comedy. But it never takes the big plug. By treading carefully, Payne has created his warmest, most earnest work, if not his best.
  10. London Boulevard
    As exercises in pulp go, this one yields a solid workout.
  11. The Love We Make
    The Love We Make provides sufficient behind-the-scenes nuggets for diehard fans of McCartney and Maysles alike.
  12. Elite Squad: The Enemy Within
    Padilha channeled national frustrations into zeitgeist entertainment. The follow-up, Elite Squad: The Enemy Within, has less success than the first installment in achieving that aim, but still keeps the snazzy combination of spectacle and polemics in check.
  13. The Son of No One
    Neither goofy enough for camp status nor lackluster enough for extreme derision, Son of No One is just mediocre enough to be an easy target.
  14. The Other F Word
    While the contradiction of punk rock parenthood may not have a solution, The Other F Word successfully has fun with the mystery.
  15. Dragonslayer
    The measured vérité style of Frederick Wiseman meets the visual polish of Terrence Malick in Dragonslayer, a fascinating slice of crude Americana from first-time director Tristan Patterson. However, it stands alone with an infectious hard rock attitude.
  16. The Last Rites of Joe May
    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.
  17. Janie Jones
    Although not exemplary, Janie Jones at least manages to give its tired scenario a sense of legitimacy.
  18. The Double
    Having laid out the scenario, Brandt drags it through the motions of a tired procedural.
  19. Melancholia
    Melancholia hovers in ambiguity with riveting aesthetic prowess.
  20. Anonymous
    Emmerich takes the story at face value and delivers a film unlike any of his others. That is to say, a boring one.
  21. Oranges and Sunshine
    Of course, it might take time for Jim Loach to catch up with his father's track record; Oranges & Sunshine is a good place to start.
  22. 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.
  23. The Rum Diary
    The result is a subpar comic adventure that's nonetheless admirable for its restrained vision of Thompson in his early gestation period.
  24. The Catechism Cataclysm
    Catechism sometimes feels intentionally obscure, much like Rohal's last movie. It's essentially a hilariously brazen lark, which is reason enough to embrace it.
  25. Elevate
    Elevate nails the mission, but not the message.
  26. Martha Marcy May Marlene
    Like "Afterschool," Durkin's first feature explores the dangerous extremes of youth vulnerability.
  27. Le Havre
    With its bouncy soundtrack, deadpan humor and good-natured disposition, Finnish director Aki Kaurismaki's Le Havre is an endearing affair.
  28. Being Elmo: A Puppeteer's Journey
    Despite its predictably cheery vibe, Being Elmo implies a certain darkness lingering beneath the surface of Clash's life.
  29. The Skin I Live In
    The Spanish auteur has a good time with outrageous plot twists and offbeat sexual intrigue. However, Almodóvar appears unmotivated to even try holding it all together. Instead, he lets the mess pile up and enjoys it.
  30. Texas Killing Fields
    The younger Mann goes through the motions of a gritty murder mystery with plenty of technical proficiency but only a modicum of soul. The Mann touch is not only in the DNA of the director but in her movie, which inadvertently makes the case that atmosphere is more hereditary than innovation.
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