IndieWire's Scores

  • Movies
  • TV
For 1,805 reviews, this publication has graded:
  • 65% higher than the average critic
  • 3% same as the average critic
  • 32% lower than the average critic
On average, this publication grades 8 points higher than other critics. (0-100 point scale)
Average Movie review score: 71
Highest review score: 100 Zero Dark Thirty
Lowest review score: 0 A Dog's Purpose
Score distribution:
1805 movie reviews
  1. It’s a powerful look at the durability of parent-child bonds as well as a fascinating psychological thriller about what it takes to heal such a rift when it seems irreparable.
  2. Set It Up is a classic rom-com brought to life by a pair of wonderfully well-matched stars who seem to revel in the genre. This is cinematic comfort food, the kind we’ve been starving for.
  3. Tag
    Stuck between a hangout movie and an out-and-out caper romp, Tag settles for something in the middle — there are worse ways to spend your time, but the result is taking an outrageous premise and making it seem ordinary.
  4. Quinn has clearly done the work to establish meaningful relationships with many of his subjects, and you can see the pain and concern in their eyes. Still, Eating Animals feels every bit as scattershot as it sounds, the film’s moral argument cornering you from all sides rather than attacking head-on.
  5. It works because the characters keep things anchored to some kind of dramatic reality.
  6. Connolly’s biopic isn’t a hagiography. The problem is that it’s not really anything. This is a strange thing to say about a notorious mob boss who was locked up for murder, but John Gotti deserved better.
  7. Once the menacing and mysterious Screenslaver is introduced, inciting a Spielberg-level monorail chase that reaffirms Bird’s lucid gift for kinetic and character-driven action filmmaking, the movie blasts off and never looks back.
  8. By all rights, it should be a heartwarming comedy with a few more tender moments. Instead, Hearts Beat Loud operates like a sad drama with a few moments that might make you smile. We knew punk was dead, but the comedy doesn’t have to be.
  9. It’s damning, if not quite fatal, that Lee’s version works best when it’s riffing on the standout elements of the source material rather than trying to reinvent them.
  10. A handful of amusing details in desperate need of a purpose, the film spends its first half looking for a compelling reason to exist, and its second half trying to disguise the fact that it can’t find one.
  11. Despite a cool backdrop and a daring idea, the heist itself feels like a third-tier Soderbergh joint, one that’s temporarily bolstered by the same jazzy music and quick cuts that marked the filmmaker’s trilogy, though carried out with considerably less energy.
  12. The Fallen Kingdom is at its worst when attempting topicality (the testosterone-fueled Wheatley refers to one of our heroes as a “nasty woman”) or when beefing up its crass plot.
  13. 211
    Unwatchable even by the subterranean standards of a direct-to-video Nicolas Cage thriller, director York Shackleton’s 211 is the kind of low-grade schlock that leaves you with a newfound respect for the basic competence that most bad movies bring to the table.
  14. For most of its interminable runtime, Action Point feels like a porno that deliberately ruins the sex scenes in order to stop you from fast-forwarding through the plot.
  15. Silas Howard’s new film is nothing if not well-attuned to the difference between the purity of sharing the right values and the messiness of actually living with them.
  16. The high school-set rom-com is a sexist and regressive look at relationships that highlights the worst impulses of the genre.
  17. Adrift is told with an inimitable sense of place and a rare attention to detail, both of which help to ensure that we never lose sight of the terror at hand. When all else fails, which it sometimes does, Woodley is there to right the ship.
  18. As the tension builds to its harrowing conclusion, and Alex begins to bare his teeth, Mathews pulls enough tricks from his sleeve to make Discreet a worthy digression.
  19. The movie is able to ride a line right through so many of its genre’s worst clichés because it never stops negotiating between fear and desire, risk and reward. It’s an assured directorial debut from “The Mentalist” actor Simon Baker.
  20. It’s as wild and unhinged as the other films in its brethren (the MPAA does not typically rate original Netflix films, but “Ibiza” would absolutely be on the receiving end of an R). However, Ibiza subverts plenty of expectations in service to a story that’s both funny and sweet.
  21. Newton’s film knows that people are always going to be letting themselves (and each other) down, no matter how hard they try, and Nicholson’s unforgettable turn makes it impossible for us to forget it.
  22. For a giallo riff so light on gore, Knife + Heart is still a bloody mess.
  23. Sorry Angel doesn’t strain from too much ambition; it’s a sharp snapshot of two men at pivotal moments in their lives, and ends on a note not too different from the one it starts on. But that cycle is central to its gentle intellectual flow.
  24. A master of threading the needle between conflict and contrivance, Kore-eda manages to turn this drama inside out without every betraying its most resonant truth.
  25. Wanuri Kahiu’s sophomore feature is just good enough to give its modest intentions a historic purpose, bringing fresh context to an old formula while hitting the expected emotional beats.
  26. Rise to the challenge, and payoff awaits on the other side: a formulaic story transformed into something more perceptive and profound. If only more family dramas took such care to get the details right.
  27. Capernaum is a movie that wants its audience to empathize with its protagonist so intensely that you agree he should never have been born. It’s a fascinating (if obviously counterintuitive) approach, but one that’s frustrated by the literalness with which Labaki unpacks it.
  28. The best thing about writer-director A.B. Shawky’s feature-length the way it burrows inside Beshay’s life without devolving into a pity party.
  29. A hyper-stylish and unexpectedly sweet rebuke to the idea that screwing people is a good way to get ahead, Gavras’ second feature manages the almost impossible task of mining something nice from the me-first mentality that’s been sweeping across modern Europe.
  30. This film manages to celebrate the spirit that stood in opposition to limit her to what she looked like on a poster. It’s a reminder that, even for world-famous icons, it’s pointless to reduce people to a single piece of notoriety.

Top Trailers