IndieWire's Scores

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For 2,505 reviews, this publication has graded:
  • 63% higher than the average critic
  • 3% same as the average critic
  • 34% lower than the average critic
On average, this publication grades 6.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 70
Highest review score: 100 Before Midnight
Lowest review score: 0 Mother's Day
Score distribution:
2505 movie reviews
  1. While Kovgan, a Russian filmmaker who has made her own contributions to the world of dance through film and performances, has a clear affection and respect for Cunningham, her solo feature debut is unable to do much more than hold him at arm’s length.
  2. Inevitably, Tape will inspire conversations — its woefully conceived final sequence literally begs for them — but perhaps not the ones Kampmeier anticipated when crafting a film that, for all its missteps, is built on necessary storytelling.
    • 64 Metascore
    • 75 Critic Score
    You’re reminded of the all-time “Twilight Zone” chillers that left you pondering and unsettled in your living room, questioning how well you knew the people sitting next to you. Given the current state of things, you’ll have to experience Vivarium in much the same way.
  3. Like any romance, Banana Split is constrained to some familiar beats, but Kasulke, Marks, and Power have such a handle on what makes the film tick — and Marks and Liberato are so charming and fun — that even expected turns feel clever and fresh.
  4. Eisenberg’s performance is left to affirm that art can truly happen anywhere, but when he’s offscreen it doesn’t seem to happen anywhere else.
  5. Bloodshot is a throwback actioner that likely would have killed in the late ’90s, but now feels every inch the product of that era’s humor and innovation. In a rapidly changing world, however, that might not be a bad thing.
  6. Galder Gaztelu-Urrutia’s The Platform is not a subtle film. But these are unsubtle times, with unsubtle problems, and the most alarming thing about this grimly affecting Spanish allegory — which literalizes capitalism’s dehumanizing verticality with twice the gross-out terror of “Parasite,” and almost half of that masterpiece’s furious grace — is that it sometimes doesn’t seem like an allegory at all.
  7. It’s wild and funny ride, but comes equipped with a pinch of existential dread.
  8. Hart guides the actions with a sensitive and joyous hand, luxuriating in the palette of Arizona’s arid desert and gaping badlands.
  9. The power of the Camps’ story is hard to deny, but it would almost be impossible to make it seem more hollow.
  10. Combining the droll self-satisfaction of a New Yorker cartoon with the wet gore of an Eli Roth movie, Zobel’s tense, well-crafted, and deviant grindhouse take on the national temperature has no trouble caricaturing what ails us, but even that fun combo lacks the killer instinct required to see us more clearly than we see each other.
  11. A junky, paint-by-numbers crime saga that stacks up to The Town like Cats does to Singin’ in the Rain. It pains a lifelong New Yorker to say this, but Boston deserves better.
  12. Borrowing from a dozen better movies as it tries to blur the line between a forgery and a masterpiece, Capotondi’s film manages to undercut its thesis with each new stroke.
  13. Apple's first narrative film is a breezy historical biopic that plays like BlackKklansman for math nerds, but it's too stodgy to add up.
  14. Winning and losing are relative terms, but this is the first time in forever that Affleck feels like he’s got skin in the game.
  15. The movie provokes the wonder and terror of what it means to live in a world where every resolution brings new questions, and the prospects that a happy ending might carry the greatest risk of all.
  16. While The Salt of Tears threatens to devolve into a sympathetic male gaze with each new turn, Garrel actually manages to burrow within those boundaries and deconstruct their flaws from the inside out.
  17. Straight Up is meticulous in building its hyper-stylized aesthetic, but doesn’t have much to say about the human condition.
  18. As dour in practice as it is bright-eyed in principle, Potter’s film makes an earnest but enervating attempt to erase mental boundaries.
  19. For all of Ferrara’s reckless abandon — and Dafoe’s unimpeachable commitment to artistic exploration — Siberia becomes increasingly unable to instigate our own journeys of the soul; seldom has the collective unconscious felt so inaccessible.
  20. Petzold remains a master of capturing frantic characters doomed by dark obsessions, and while Undine is certainly a minor work, it still shows evidence of a master’s hand.
  21. O’Sullivan (who makes her feature screenwriting debut while also leading the film, appearing in every scene), is a real find, the kind of “voice of a generation” talent who spends less time talking about her genius insight and more time simply delivering on it.
  22. The movie has a loose, almost amateurish quality to its production that suggests another rush job from a filmmaker unwilling or unable to slow down. But the movie reveals its deeper layers with time, congealing into a perceptive and often charming bite-sized study of smart women contending with a series of annoying men.
  23. Charlatan becomes entangled in its conflicting mesh of traits and time periods, but the film is only able to become more than the sum of its frustrating parts because it embraces those complications in the first place.
  24. My Little Sister regains its footing in its final scenes, eschewing the expected for the raw emotion of real life.
  25. Here and there, Minamata tells a bracing story of corporate malfeasance and bracing advocacy for the underclass, but even the occasional poignant observation can’t salvage a movie trying this hard to tug every heartstring at its disposal.
  26. In Minyan, the arresting and evocative feature film debut from documentary filmmaker Eric Steel, the search for answers turns up far more riches than any half-baked conclusion ever could.
  27. Guided by Jóhannsson’s ethereal score, this dazzling apocalyptic immersion blends cosmic 16mm black-and-white images of Yugoslavian architecture with a deadpan Tilda Swinton voiceover, resulting in a profound lyrical rumination on the end of days.
  28. Kill It and Leave This Town is almost oppressively personal at times. Hideously seductive as it can be, the movie is so isolated inside the contours of Wilczyński’s mind that it’s hard to imagine what audience might exist for it. Then again, what beauty is there in this world that isn’t alive in our heads — if nowhere else — and trying to escape?
  29. While the rules of her conundrum never quite coalesce and some of the twists feel shoehorned, The Intruder generates so much intrigue to maintain a breathless pace and unsettling atmosphere at every turn, with Rives’ layered performance fusing the strange trip together.

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