IndieWire's Scores

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For 1,843 reviews, this publication has graded:
  • 64% higher than the average critic
  • 3% same as the average critic
  • 33% lower than the average critic
On average, this publication grades 7.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 71
Highest review score: 100 Long Day's Journey Into Night
Lowest review score: 0 A Dog's Purpose
Score distribution:
1843 movie reviews
  1. A tasteless and incredibly undercooked serving of the internet’s stalest Creepypasta, Slender Man aspires to be for the YouTube era what “The Ring” was to the last gasps of the VHS generation...there’s one fundamental difference that sets the two movies apart: “The Ring” is good, and Slender Man is terrible.
  2. Entertaining and exasperating in equal measure, it’s a nine-dimensional chess game in which the pawns think they’re working towards a better future, but the powers controlling them are only determined to maintain the status quo.
  3. Fans of Kwan’s books will not be disappointed by Chu’s adaptation, as “Crazy Rich Asians” lovingly brings to life some of the novel’s standout scenes, even as Chiarelli and Lim’s screenplay snips away subplots that detract from Rachel’s journey.
  4. Statham remains an appealing summer movie fixture, but sharks deserve better than this.
  5. Even when Christopher Robin stumbles or steers itself into a corner, it never stops trying to understand what people lose when they let go of the things they love. The movie sells itself by keeping one foot on the ground at all times.
  6. It’s a tough story, but told through a decidedly female gaze, Night Comes On blossoms into something beautiful.
  7. However afraid she is to let things get too serious, Miller Rogen is powerless to erase the emotional undertow that carries this story forward. All of the pent-up animosity her movie doesn’t know what to do with becomes its greatest asset.
  8. Less moment-to-moment funny than committed to a sustained pitch of devilish glee, Never Goin’ Back couches its silliness in a credible milieu of American malaise. The women may never understand how they might find a better place, but the movie makes the case that their unending commitment to getting there might be good enough.
  9. The film zips through its final act at breakneck speed, doling out answers and riling up new conflicts with little care for how they impact a standalone story, just setting up for a franchise that might never come to fruition.
  10. The meandering and insufferable Death of a Nation is little more than a greatest-hits collection of its creator’s favorite neocon conspiracy theories, which frame the Democratic Party for the fascistic tendencies embodied by Donald Trump.
  11. It’s intermittently engaging as a B-movie, but so often strives for something more that it never finds a satisfying tone.
  12. One of those late-summer releases that’s just good enough to make you wish it were better, The Spy Who Dumped Me aims to please every step of the way, but it never earns the nearly two-hour running time.
  13. Age of Rage is much more potent when questioning its own purpose than it is when giving fancy racists yet another platform to espouse their bullshit.
  14. The polished new documentary, McQueen, charts the late designer’s rise from English country boy to fashion’s enfant terrible, but the filmmaking lacks the artistic vision of its subject.
  15. It’s hard to understand how anyone so capable of diagnosing this problem can also believe themselves capable of solving it — so hard, in fact, that the last 20 minutes of Generation Wealth might compel you to reconsider the value of the 80 minutes before them.
  16. The good news is that the fans of Antoine Fuqua’s “The Equalizer” — a bland and pulpy 2014 riff on the ’80s TV series of the same name — are in for more of the same. The bad news is that the rest of us are, too.
  17. Ultimately, throwing the same people in the same place with little to do and even less time to do it is emblematic of the sins of far worse, much less worthy sequels. Without Streep there to tie it altogether, well, it just doesn’t sing.
  18. Combining first-rate skate video footage with a range of confessional moments, Minding the Gap is a warmhearted look at the difficulties of reckoning with the past while attempting to escape its clutches.
  19. He’s only Tom Cruise because nobody else is willing to be — or maybe he’s only Tom Cruise so that nobody else has to be. Either way, Fallout is the film he’s always promised us, and it was totally worth the wait.
  20. The result is a dull and deeply compromised movie that would rather be a mediocre crime saga than a nuanced character study, but can’t quite bring itself to commit to that choice.
  21. Even as the story drifts off, Night Eats the World derives its power from a beguiling, provocative implication: It’s hard to confront a hostile world, but gathering the courage to do so doesn’t make the job any easier.
  22. Skyscraper plays out like a metaphor for diminishing returns — Johnson keeps climbing, higher and higher, until there’s nowhere left to go but down.
  23. With plenty of laughs, truly dazzling animation, and some more of the franchise’s signature dance sequences, Hotel Transylvania 3: Summer Vacation is a summer treat worth savoring, and a reminder that if we can see past our differences, we’ll find we’re not that different after all.
  24. While Zagar doesn’t force the material into many surprising places, it’s a fully realized tapestry, owing much to the complex, layered score by Nick Zammuto that hums through nearly every scene, and frequent cutaways to hand-drawn animation based on the scrapbook that Jonah stores under his bed at night.
  25. The First Purge is another absurd B-movie, uneven and ludicrous across the board, but altogether transfixing for the way it funnels Trump-era terror into an empowering crowdpleaser.
  26. Sanju is a reminder that putting a subject on a pedestal isn’t a biopic’s only potential pitfall. Here, it becomes problematic by portraying Sanjay as a victim of his circumstances rather than the master of his own decisions.
  27. Custody begins with an air of documentary reality before evolving into a thriller so claustrophobic its climax fits inside the bathroom of a modest apartment.
  28. There’s no denying the purity of Fleming’s intentions (the movie’s end credits even play over a montage of same-sex parents), but Ideal Home is too cartoonish to meaningfully celebrate the beauty of the families we choose, and too casual to accomplish much else.
  29. When White Fang focuses on its real stars — animals, Alaska, the spread of untamed country — it’s as visionary as any animated film. Placed alongside ham-fisted humans, it loses its power.
  30. By focusing on what binds those on the pitch and those in the bleachers, Nossa Chape doesn’t just wonder if some things are “bigger than the game” — it proves it.

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