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IndieWire's Scores

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For 1,960 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 7.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 71
Highest review score: 100 Buzzard
Lowest review score: 0 Hillary's America: The Secret History of the Democratic Party
Score distribution:
1960 movie reviews
  1. If On Her Shoulders struggles for an ending, perhaps that’s because we have to supply our own. People like Nadia can’t fix the world, but this vital documentary is proof that it’s heroic enough just to be heard.
  2. Sagawa is disturbed and alienated, but that doesn’t make him a compelling documentary subject in and of itself. Maybe that’s the point: Demystifying Sigawa takes away some of the near-mythic power that’s been attributed to him over the years.
  3. The Night Comes for Us is an alternately giddy and exhausting ordeal — a film that somehow manages to squeeze in way more plot than it needs, but not enough to make you care about who’s kicking who, let alone why.
  4. Even among Gerard Butler vehicles, this one sinks right to the bottom.
    • tbd Metascore
    • 75 Critic Score
    Wearing its sincerity like an Armistice Day poppy, the resulting montage-film – which premiered at the London Film Festival ahead of future TV transmissions – does its utmost to honor the conflict’s fallen.
  5. It takes far too long for Galveston to emerge from the novocaine of its various clichés and allow us to feel the tender flesh that bleeds across every scene of this seedy road noir, but — in fairness to director Mélanie Laurent — some filmmakers are never able to break the leathered skin of a Nic Pizzolatto story.
  6. The parallels between Watergate and Trumpocalypse are so boggling that they preclude any other reason for why Ferguson chose to make this film now. And yet, it’s the film’s deliberate timing that calls its value into question.
  7. A Private War resolves as such an effective memoir because even in its most clichéd moments — of which there are many — it resists easy psychoanalysis.
  8. While the gentle mediocrity of it all is somewhat charming at first — even with such tired material, Atkinson is still a reliably sweet and well-intentioned screen presence — it doesn’t take long for the film to wear out its welcome.
  9. The creativity may be lacking in other areas, but “Goosebumps 2” steps up the creature feature quotient with style and smarts.
  10. The relatively gentle, meditative, and straightforward Hotel by the River is like everything and nothing that Hong has made before; to say that it’s “just another Hong” movie is an accurate way of emphasizing what makes it special.
  11. Part B-movie spoof, part handcrafted satire, and always driven by a genuine vision for a better tomorrow, Diamantino is like looking at today’s Europe through a funhouse mirror, and somehow seeing it more clearly as a result.
  12. Entirely composed of archival newsreel footage, performance recordings, and rare interview excerpts from when the great “diva” sat down with journalist David Frost in 1970, the film unfolds like a second-hand sketch of a phantom who continues to haunt its director.
  13. Schloss compellingly combines the rangy wildness of hormonal teenagehood with Sadie’s more terrifying instincts, toeing the line between pissed-off teen and possible psychopath with ease. Her Sadie is both brutally dead-eyed and weirdly charismatic; you simply can’t turn away from her, even when you really, really want to.
  14. Studio 54 isn’t an especially clever or innovative film, but it taps into its namesake’s dormant spirit, and reclaims a famous piece of Manhattan folklore for the people who made it possible.
  15. This leaves the viewer with two choices: reject the parasite or let it take you over. Fight it off and you’ll have a bad time; become one with it and you may achieve a kind of symbiosis.
  16. A generous reading suggests that its vaguely feminist subtext is intentional rather than a happy accident, and to some extent it may well be, but for the most part Hell Fest simply adheres to long-established genre tropes.
  17. The more that Goddard upends our assumptions about who’s good, who’s bad, and who’s going to live through the night, the more we realize that we’re rooting for all of these fucked-up people to get right with the world. It’s massively didactic, but in a way that encourages us to dwell on how we feel about these characters, and how malleable those feelings are.
  18. Tyrel establishes its intentions within the opening minutes, and more or less follows a straightforward trajectory in its trenchant exploration of race relations.
  19. While there’s certainly room to explore Alcott’s biggest themes in the lives of modern women, here the results feel more hammy than revelatory.
  20. While the script is far too spotty and unfocused for the film to be anything more than the sum of its parts, the setting — and the set-pieces that Daly creates from it — is enough to prevent this unlikely genre mash from being a blight of its own.
  21. Despite tackling our crazy times, The Oath somehow winds up not quite crazy enough to assess them.
  22. Lee’s proven talent for mixing broad situational humor with sly character work is almost completely missing in action here.
  23. A lucid crystallization of both Arulpragasam’s private life and her public mission, Matangi/Maya/M.I.A. offers an intimate profile of a righteously modern renegade without ever feeling like propaganda or a plea to stream her latest album on Spotify.
  24. By the time Apostle arrives at its big reveal, the movie has veered off on so many tangled pathways that the ending can’t resolve them all. Instead, it provides a single, ethereal image that hints at the more imaginative possibilities lurking somewhere inside this bloody mess.
    • 63 Metascore
    • 83 Critic Score
    A subliminal commentary on the science of human behavior through a supernatural lens, “Overlord” manages to satisfy expectations of pure escapism even as it digs deeper, and it’s a welcome alternative to so many movies that don’t even try.
  25. Garry Winogrand hated being called “a street photographer,” even if he was regarded as the most essential of them all. The great success of Sasha Waters Freyer’s straightforward but evocative documentary Garry Winogrand: All Things Are Photographable, is how well it explains why someone could have such a strong aversion to a term that was practically invented to describe them.
  26. Smallfoot really flounders with its obligatory message-mongering: a hodgepodge of didacticism about the importance of celebrating differences, asking questions, never fearing the unknown, or judging someone because they look different. Plenty of sound lessons in there, to be sure, but without a singular focus, they all blend into one.
  27. The House with a Clock in Its Walls is at its best when it foregrounds the adults and gives Black and Blanchett ample time to bicker with one another.
  28. The music and locations are specific so that the characters don’t have to be — viewers can take the movie on its own terms, while also projecting themselves onto it.

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