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. The Tree of Life
    More meditation than movie, Terrence Malick's The Tree of Life is bound to mystify, awe and exasperate in equal measures.
  2. Everything Must Go
    The material, however, takes a Raymond Carver short story and plays it almost too straight. Ferrell looks uncomfortable, but not amusingly so.
  3. Beautiful Darling
    Beautiful Darling not only explains the appeal of its subject; it actively contributes to her ongoing mystique.
  4. Caterpillar
    Before its spell unravels with overdone theatricality and on-the-nose flashbacks, Caterpillar succeeds as a kind of representational horror movie.
  5. Hobo with a Shotgun
    Loaded to the gills with thrill-inducing mayhem, Hobo with a Shotgun feels almost tribal in its commitment to violence.
  6. The Beaver
    With tightly controlled performances and uniquely eccentric events, The Beaver is mainly undone by the lack of a satisfying outcome.
  7. Passion Play
    The reality is that Passion Play has a few good ideas that simply don't hold together. More of a miscalculation than an outright dud, it takes the form of a wildly surreal western fantasy, something that Chilean madman Alejandro Jodorowsky ("El Topo") could have executed with more rigorous invention.
  8. Cave of Forgotten Dreams
    Herzog naturally plays up the enigma at hand with epic grandeur, occasionally overdoing it but usually hitting the mark.
  9. The Arbor
    The cumulative impact of The Arbor is one of claustrophobia; at times, the endlessly downbeat adventures of Dunbar and her offspring grow almost unbearably morose.
  10. Incendies
    The climax is a little too clever and far-fetched-an unnecessarily neat finale for a movie that works fine when dealing in broad strokes, some of which are nothing short of masterful.
  11. The Double Hour
    At its core, The Double Hour is a classic noir story of deception.
  12. The Imperialists Are Still Alive!
    The first-time director's refreshingly credible portrait of a boho character with Middle Eastern origins rectifies the aforementioned canonical gap in a witty, naturalistic generational snapshot.
  13. A Screaming Man
    At its core, A Screaming Man emphasizes the strength of family bonds. It's a sad, moving portrait that has nothing to do with its chaotic setting.
  14. The Conspirator
    While Redford frames the drama with a tense atmosphere, it doesn't shake the sense that we're watching a tame made-for-TV affair.
  15. Arthur
    Easy on the eyes, intermittently amusing and never downright awful.
  16. To Die Like a Man
    To Die Like a Man deserves your attention for showcasing a filmmaker with the capacity for bold narrative trickery that doesn't come at the expense of emotional investment.
  17. Kati with an I
    Greene's patient, understated portrait renders a universal rite of passage in strangely alluring, poetic terms.
  18. Meet Monica Velour
    Like the poster, Meet Monica Velour is engaging to a point, but leaves much to be desired.
  19. Meek's Cutoff
    Reichardt crafts a highly textured narrative that both invokes the mythology of the American frontier and cleverly transcends it.
  20. Hanna
    The resulting adrenaline-packed vehicle delivers a multi-directional sugar rush. It moves so quickly that the bells and whistles blur together.
  21. Wrecked
    Brody's engagement with the material prevents Wrecked from falling apart.
  22. Potiche
    Potiche successfully satirizes the gender politics at its core. At the same time, it knowingly mocks the obsession over debates about the suppression of women that pervaded the culture during the movie's setting.
  23. I Travel Because I Have to, I Come Back Because I Love You
    The visual collage retains a consistent melancholy, resulting in an experience that's both deeply affecting and-since José never actually appears on-camera-utterly detached.
  24. Rubber
    Dupieux's utterly zany slice of narrative subversion transcends that singularly goofy premise to create one of the more bizarre experiments with genre in quite some time.
  25. In a Better World
    Bier has done far more compelling work before, but the globe-spanning, life-affirming, morally upright trajectory of her latest accomplishment weakens its quality while sustaining its popularity. In a Better World is heavy, but it's also heavy-handed.
  26. The Four Times (Le Quattro Volte)
    Frammartino keeps the material engaging simply by aiming the camera at his subjects and letting the material organically emerge-rather than enforcing the supernatural element with overstatement.
    • 57 Metascore
    • 50 Critic Score
    The Gift to Stalin
    The Gift to Stalin could have benefited from a less complex approach, something that would've actually hit the notes the filmmaker had aimed for. Unfortunately, he needed to try it all. Little of it succeeds, which can be rather draining at times, and not in the way he intended it to be.
  28. Source Code
    Showcases Jones' ability to provide ample entertainment value with sharply drawn characters in a minimalist setting.
  29. Black Death
    Black Death embraces its horror roots with ample bloodshed, at which point the silly costumes and anachronistic dialogue no longer seem so absurd.
  30. The Soft Skin (1969)
    The excitement in The Soft Skin, however, gives way to an intense tragedy that's INFORMED by the thrills.
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