IndieWire's Scores

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For 5,235 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 La Gradiva
Lowest review score: 0 Pixels
Score distribution:
  1. Positive: 3,618 out of 5235
  2. Mixed: 1,348 out of 5235
  3. Negative: 269 out of 5235
5235 movie reviews
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  1. Hanna
    The resulting adrenaline-packed vehicle delivers a multi-directional sugar rush. It moves so quickly that the bells and whistles blur together.
  2. Wrecked
    Brody's engagement with the material prevents Wrecked from falling apart.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. 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.
  9. Source Code
    Showcases Jones' ability to provide ample entertainment value with sharply drawn characters in a minimalist setting.
  10. 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.
  11. The Soft Skin (1969)
    The excitement in The Soft Skin, however, gives way to an intense tragedy that's INFORMED by the thrills.
  12. Certified Copy
    A comedy of remarriage buried in intellectual abstraction and cinephilic obsessions, Certified Copy wanders a bit but never loses focus, with the only certainty being that its gimmick is genuine.
  13. I Saw the Devil
    Eventually, Soo-hyun's relentless pursuit-and-release approach outlives the director's skill and the premise starts to feel redundant.
  14. Uncle Boonmee Who Can Recall His Past Lives
    The magic of Uncle Boonmee is that it makes all viewers feel like the strange ones.
  15. Of Gods and Men
    Ignore the precise religious context and it stands perfectly well as a restrained look at personal convictions in the face of certain death.
  16. The Over the Hill Band
    Like Stephen Walker's delicate nonfiction portrait "Young@Heart," it's a genuine heart-tugger about senior citizens rediscovering their youth by singing pop music; like Craig Brewer's crowdpleasing "Hustle & Flow," it sympathizes with a struggling rap artist without glossing over his flaws.
  17. Heartbeats
    In a sense, Heartbeats demonstrates that Dolan has a lot on his mind as a budding filmmaker.
  18. The Chaperone
    Flatly directed by Stephen Herek from a screenplay by S.J. Roth, the movie seems to be at peace with its mediocrity. As a vehicle for WWE champ Paul "Triple H" Levesque, it's haplessly stuck on cruise control.
  19. Zero Bridge
    Political only by implication, Zero Bridge works in a larger sense as a story of universal longing.
  20. Loveless
    Loveless proceeds like a messy younger sibling of Noah Baumbach's "Greenberg" as it tracks Andrew's ongoing denial of the mounting pressures to settle down, many of which come from his reasonably sane ex, Joanna (Cindy Chastain).
  21. We Are What We Are
    Representing lower-class violence taken to an extreme, the cannibalism cannot be contained by police work. The movie's gradual build to a thrilling, appropriately bloody climax intensifies this disconnect.
  22. Putty Hill
    Unable to express the sorrow of Cory's passing or the larger sense of detachment from the world it represents, most of the people in Putty Hill try to remain disaffected. By pestering them with questions, Porterfield gets under their skin - and, in the process, ours as well.
  23. Lovers of Hate
    Never indulging in outright scare tactics or loose improvisation, the movie primarily works like an awkward narrative that plays with perspective.
  24. Cedar Rapids
    Helms plays angelic insurance agent Tim Lippe with gentle nobility and hilarious naivete.
  25. Poetry
    It may go without saying that Poetry adopts a lyrical tone, but this forms the crux of its appeal. In this case, the title says it all.
  26. Into Eternity
    Although Madsen's survey of warning strategies has an aimless structure prone to repetition, he creates an effective mood that transcends his time-travel gimmick and eventually becomes topical.
  27. Gabi on the Roof in July
    Even as "Gabi" steadily slides downhill and ends with a shrug, it remains intermittently fun and never entirely unbearable-much like Gabi herself.
  28. A Somewhat Gentle Man
    Cold-blooded killers rarely look this pathetic, which testifies to the impressive balance of Skarsgård's amusingly low-key performance.
  29. Barney's Version
    The highbrow intentions of Barney's Version suffer from a constant pile up of dead ends.
  30. Twelve Thirty
    A supremely dense coming-of-age drama steeped in weighty blather at the expense of emotional validity.
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