IndieWire's Scores

Select another publication »
For 5,167 reviews, this publication has graded:
  • 59% higher than the average critic
  • 4% same as the average critic
  • 37% 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: 3,568 out of 5167
  2. Mixed: 1,333 out of 5167
  3. Negative: 266 out of 5167
5167 movie reviews
view
per page
  1. Joan of Arc
    Dumont regards history as a focal point for national identity, finding France’s leadership rooted in dry pontification and meandering religious fervor. He gives us a complex world so keen on taking itself seriously that it becomes parody, leaving only Joan’s stone-faced expression to point to a higher truth.
  2. The Lovebirds
    Michael Showalter’s follow-up to “The Big Sick” is as flat and algorithmic as his last rom-com was poignant and alive. The only thing the two films really have in common is a winning performance from Kumail Nanjiani.
  3. Inheritance
    Though Stein’s film doesn’t exactly work up to a big surprise, it does unveil some new twists in its final act that hint at better craftsmanship than what was initially on offer.
  4. The Trip to Greece
    While the laughs are still easy and frequent, this time around they feel more like the exception than the rule, and the final moments irrevocably tip the scales toward the unironic sobriety the series has been flirting with for so long (a replica of the Trojan horse comes to symbolize how this supposed romp sneaks past your defenses).
  5. The Wolf House
    This is powerful and uniquely disquieting cinema that should reward the curiosity of those brave enough to seek it out, but you can only stare into a bottomless abyss for so long before you lose the will to keep looking.
  6. Scoob!
    Part origin story of the Mystery, Inc. team (Scooby-Doo and the rest of them, for newbies), part Hanna-Barbera homage, the animated feature is a charming enough diversion that adds to the appeal of the original show.
  7. Castle in the Ground
    Even as Castle in the Ground begins to fray and fall apart, Joey Klein’s dour but gripping opioid drama remains believable for how perfectly it dovetails with its grieving protagonist.
  8. The Wrong Missy
    A gross-out comedy masquerading only in the flimsiest sense as a romance, The Wrong Missy still knows its way around genre convention, but Spindel and company seem compelled to use those expectations to tee up cruel gags that do little to advance the film’s plot or central romance.
  9. Capone
    Hardy’s grotesque performance doesn’t invite any sympathy for the devil, but it hobbles him in a way that renders Scarface human.
  10. Valley Girl
    A delightful mash-up of everything ’80s, from E.T. to Madonna, Princess Diana to Roxy Music, the Jackson family to Ronald Reagan, this anachronistic retelling is faithful to Coolidge’s original film, but with its own flashy new touches.
  11. Clementine
    For a film that explores how the way that we’re looked at can inform how we see — a film capable of knotting the beautiful and toxic aspects of that process together in a way that makes room for them both — Clementine is too prone to navel-gazing to leave a strong impression.
  12. Crshd
    At just 81 minutes, the film’s sagging middle soon gives way to a zippy and very funny final act, which ties up big plot points while still hinting at more adventures to come for its charming trio.
  13. On a Magical Night
    On a Magical Night is a fanciful tale of marriage and its malcontents; a muted sex farce that unfolds like an overwhelmingly French twist on “A Christmas Carol” for people who are sick of their spouses.
  14. Have a Good Trip: Adventures in Psychedelics
    Like most bad trips, Cary’s documentary is ultimately harmless. And like most bad trips, you realize something’s gone wrong after just a few minutes, and then start to freak out that it’s never going to end.
  15. The Wretched
    The Wretched doesn’t reinvent the rules, but it has a timeliness to it that’s hard to shake. There’s not quite enough substance here to launch a franchise, but with a story so attuned to perils of a neglected world, it doesn’t need a sequel when we’re living in it every day.
  16. Spaceship Earth
    Spaceship Earth touches down as a grounded and even clinical analysis of our natural skepticism towards dreamers — of how our hope can sour into hostility as soon as it loses an iota of its shine.
  17. Becoming
    While the film’s star and subject is never less than dazzling, even her most inspiring moments can’t obscure a paper-thin exploration of a remarkable life in transition.
  18. You Don't Nomi
    It’s a shame that You Don’t Nomi, a new documentary about the failure and reevaluation of Paul Verhoeven’s 1995 pulp film “Showgirls,” doesn’t live up to its truly inspired title.
  19. Liberté
    The movie is a visual investigation into the roots of sexual liberation in societies steeped in repression. Watching it from start to finish is a means of engaging with the inquiry at its center.
  20. Tammy's Always Dying
    The film has more success in smaller beats, when it’s not hamstrung by over-the-top performances or obvious drama. It has just enough going for it to hint at the deeper story beneath the surface: a film only about half measures, not the kind that dishes them out on its own.
  21. All Day and a Night
    There’s a fine line between resilience and false hope, and All Day and a Night walks it with purpose even when it’s tripping over itself.
  22. A Secret Love
    A Secret Love is full of the kind of gentle ribbing and loving chuckles one would expect from any adorable old couple, but it’s made all the more poignant by the fact of Pat and Terry’s trailblazing personal histories.
  23. The Half of It
    The Half of It has lofty aims for its version of the classic tale — which it mostly achieves, albeit without much fanfare.
  24. Capital in the Twenty-First Century
    Always legible, sometimes reductive, but never condescending, Pemberton’s film offsets a lack of complexity with an abundance of clarity.
  25. Blood Quantum
    It may not be a great zombie movie, but it’s a uniquely powerful reminder of why zombie movies are great.
  26. Pahokee
    Shaggy and unformed as Pahokee often seems, the film — like its subjects, and the town where they live — is more than the sum of its parts.
  27. To the Stars
    The movie’s topple into melodramatic excess is fitting for a film set in the 1960s, a time dominated by melodramas. And also like the cinema of the 1960s, there’s a grit and urgency to To the Stars, of something bigger and darker coming along with the changing times.
  28. Robert the Bruce
    Robert the Bruce seeks to explore the relationship between a ruler and their people, offering intimacy and personal concern as the best defense against a puppet government. Unlike its namesake, however, this cold and slapdash costume party of a film never figures out how to unite its many scattered parts.
  29. Mayor
    It might not change anyone’s mind about the Israeli-Palestinian crisis, but Mayor presents a fresh window into the challenges of leadership on the latter half of that equation.
  30. Selah and The Spades
    Poe has built a rich world that’s equal parts “Rushmore,” “Heathers,” and “The Godfather,” with all the unpredictability that teenage behavior can possibly engender.
Page:

Top Trailers

See all »
See all trailers »