New York Daily News' Scores

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For 6,911 reviews, this publication has graded:
  • 42% higher than the average critic
  • 3% same as the average critic
  • 55% lower than the average critic
On average, this publication grades 8.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 Fruitvale Station
Lowest review score: 0 The Fourth Kind
Score distribution:
  1. Positive: 2,885 out of 6911
  2. Mixed: 2,801 out of 6911
  3. Negative: 1,225 out of 6911
6911 movie reviews
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  1. Wiener-Dog
    There will be movie-goers who enjoy the misery of it all. They may even laugh. I couldn't.
  2. Blood Father
    The movie is pretty good.
  3. Man Down
    For all of its effort to make an important point about the unseen casualties of war, Man Down is a taxing exercise for the viewer.
  4. Sicario: Day of the Soldado
    Director Stefano Sollima, who cut his teeth on Italian TV mob dramas, is good at building suspense. He fills the screen with striking images, too -- night-vision raids, heat-signature tracking, eye-in-the-sky surveillance.
  5. Jurassic World: Fallen Kingdom
    The special effects remain startling, and in your face. But there's nothing new here, and what's old feels like less. The corporate villains seem to have wandered over from "Rampage." The humor has vanished.
  6. Hotel Artemis
    The wannabe thriller set in the near future packs gritty style and ambiance, but that’s no match when the story has no stakes and doesn’t add up.
  7. The Broken Tower
    Franco’s rather flat narration doesn’t do justice to Crane’s verse, but he is a charismatic onscreen presence.
  8. Rampage
    Some movies are feasts. Some films are desserts. This picture is cheese in a can, and if it only accepted that, it would be a lot more fun — like “Alligator,” the tongue-in-cheek classic that had a toothy terror climbing out of a city sewer.
  9. Pacific Rim: Uprising
    DeKnight shows he can pilot a CGI fight sequence as well as his predecessor, Guillermo Del Toro (“The Shape of Water”). These movies can be fun once the colossal foes start grappling. They’re even more fun with fewer explanations and more explosions. A movie about massive monster-fighting robots doesn’t need so much engineering.
  10. Tomb Raider
    Too bad the new actress doesn’t bring much to the party, and this “origin story” feels like leftovers.
  11. A Wrinkle in Time
    Director Ava DuVernay’s version of the beloved children’s classic has a big cast and the best of intentions. It’s socially progressive, racially diverse and packed with positive messages. It’s just not much fun.
  12. Death Wish
    But the real problem is that the picture feels padded. There are endless, and pointless, scenes of radio hosts debating the vigilante violence. And the wildly mismatched shoot-outs — every criminal Kersey goes up against is slow, stupid and a lousy shot — waters down the thrills.
  13. Annihilation
    Your mileage may vary — along with patience. Despite all the talk of the Shimmer, Annihilation sputters.
  14. The Commuter
    As it speeds along, the film delivers its share of popcorn-style entertainment, curves and thrills. But it stalls due to plot holes and murky storytelling, willful inaccuracies (like an invented Upper East side train station), wasted talent and conductor’s cap tips to better railway-based movies like “Strangers on a Train,” “The Fugitive” and “Unstoppable.”
  15. The Greatest Showman
    Alas, a winning lead performance isn’t enough when it is at the center of a flawed movie. The Greatest Showman can only hoodwink for so long before the tent collapses. This is an enjoyable film, but its rags-to-riches tale in a sanitized 19th century is extremely by-the-numbers.
  16. Jumanji: Welcome to the Jungle
    With its video game upgrade, Jumanji: Welcome to the Jungle manages to match the silly fun of its predecessor — even without Williams — and that’s no small achievement unlocked.
  17. The Man Who Invented Christmas
    In the end, The Man Who Invented Christmas is an enjoyable enough diversion. It’s no humbug. Just pleasantly ho-hum.
  18. Roman J. Israel, Esq.
    Washington is terrific as Roman. The character may be unclear, but the actor’s commitment is focused, and his anger and indignation are sharp and painful.
  19. Justice League
    There are enough positives that Justice League shouldn't be dismissed as Flash over substance. It’s just that with the rich history of these iconic heroes on the printed page, the film should have felt more… super.
  20. Murder on the Orient Express
    The new Murder on the Orient Express isn’t a whodunit. It’s a why’d-they-do-it. Why make a new version of a perfectly good old movie if you’re not going to do anything new?
  21. All I See Is You
    Inside the endlessly dull, oh-so-serious All I See Is You there’s a short, fun, trashy movie dying to get out. And dying. And dying.
  22. The Snowman
    Roll The Snowman to the top of the ever-rising mountain of lousy movies with good trailers.
  23. Marshall
    Marshall makes a good case for its hero as one of the brightest, boldest lawyers to ever walk into a courtroom. So why is it sometimes such a trial?
  24. The Foreigner
    Now that’s a kick in the head: A Western filmmaker is taking Jackie Chan seriously. The Foreigner, however, takes him a little too seriously.
  25. Happy Death Day
    It’s a thriller’s job to make you jump out of your skin and Happy Death Day gets it done — on occasion.
  26. The Mountain Between Us
    Together, they (Winslet/Elba) share warm chemistry. But that’s not enough to melt eye-rolling exposition or predictable twists you see coming — even in a whiteout — a mile away.
  27. Home Again
    Reese Witherspoon’s oversized appeal and radiance is no match for Home Again, a ramshackle romcom short on both romance and laughs.
  28. Leap!
    All three screenwriters either forgot or didn’t care that their heroine is 11. Even worse is when Félicie ends up dancing on tables in a bar — as in, a bar — “Coyote Ugly”-style. What? It’s not easy to take a message about taking leaps of faith from a movie that too often has two left feet.
  29. The Hitman's Bodyguard
    The Hitman’s Bodyguard is a movie for anyone who just wants to see Samuel L. Jackson curse, Ryan Reynolds smirk and Salma Hayek kick butt while looking absolutely incredible. Not that there’s anything wrong with that.
  30. The Dark Tower
    The Dark Tower is simply dim.
  31. Kidnap
    Berry, who’s been down a similar road before in “The Call,” brings grit, guts and tears. But all that’s not enough to break the monotony — or the preposterous conversations she has aloud with herself.
  32. Atomic Blonde
    To its credit, even the film realizes how ridiculous it is. After one over-the-top hand-to-hand bout, Lorraine and her Boris Badenov opponent are left literally punch-drunk, swinging wild like a couple of stumblebums.
  33. Valerian and the City of a Thousand Planets
    It never stops for a minute, yet it never goes anywhere. And much as it promises to take you to a thousand planets, it can’t find one sign of intelligent life.
  34. The House
    Ferrell, Poehler and Mantzoukas eventually lean into their neo-gangster personas, and the movie takes the easy route, slipping in parodies of “The Sopranos,” “Terminator 2” and even “The Six Million Dollar Man.”
  35. Cars 3
    There’s a new “Cars” pulling into theaters, but the series is out of gas.
  36. Rough Night
    At its best, the movie turns gender roles on their heads. While the girls party very hard, bride-to-be Jess’s fiance Peter (Paul W. Downs) spends his stag party tasting wine with his buds. Moreover, people can surprise themselves — and do things they don’t expect.
  37. The Mummy
    Sure it’s got big, blurry action scenes, a plane crash, and an army of dusty, mindless zombies. But I think some of them may have been the screenwriters, because the movie’s practically lifeless.
  38. Captain Underpants: The First Epic Movie
    It's a stinking good time - for the kids, at least.
  39. Baywatch
    After a sharp, satiric opening, though, Baywatch slowly sinks. The scenery is pretty, including the actors, but Johnson and Efron are better at making fun of themselves than landing zingers.
    • 45 Metascore
    • 50 Critic Score
    Snatched
    Hawn deserves better, and so do audiences who are likely to find themselves losing interest in the kidnapping movie’s runaway plot.
  41. The Circle
    Director James Ponsoldt — who did the very good "The Spectacular Now" and "Smashed" — is great at visuals, peppering the screen with glowing tweets and comments. He overplays the comedy, though, and underplays the mystery — there's never a feeling that Mae is in real danger.
    • 67 Metascore
    • 60 Critic Score
    Guardians of the Galaxy Vol. 2
    The second "volume" of the open-ended franchise is simply not as charming as the original.
  43. Free Fire
    Free Fire is more of an exercise in how to stretch-out a single scene than a typical movie.
  44. Unforgettable
    Unforgettable isn't.
  45. The Promise
    The awkward love triangle feels forced and unnecessary and distracts from and dilutes the power of the historic drama.
  46. Fast Five
    Sure, a lot of the dialogue is dopey, and the eternally stiff leads once again compete for blankest delivery. But Lin distracts us well, packing deftly-shot races, explosions, and getaways into every corner.
  47. Smurfs: The Lost Village
    They blue it. The brains behind the eye-popping but soul-sapping Smurfs: The Lost Village missed an opportunity to celebrate girl power.
  48. Going in Style
    Going in Style has gone a little soft. The geezers-go-gangsta story is back, but in a remake that lacks the edge that made the 1979 original memorable. It’s cuddly when it should be cranky, nice when it needs to be a little nasty.
  49. The Assignment
    The Assignment is a movie about a heartless assassin, a mad doctor and a forced surgery. But it’s the movie that should be sued for malpractice.
  50. Life
    Director Daniel Espinosa whips up some nail-biting sequences. But the suspense is all by-the-numbers.
  51. Ghost in the Shell
    While it offers some new ideas, the movie also suffers from the same pacing problems of the original.
  52. The Boss Baby
    Everything is perfectly entertaining. Too perfectly.
  53. CHIPS
    It’s a convoluted mess that zig-zags all over the map. On the plus side, there are enough jokes that connect to keep you along for the ride.
  54. Before I Fall
    A collision of sci-fi, drama and horror, Before I Fall earns points for ambition.
  55. Rock Dog
    Unlike animated family favorites spiked with jokes for adults that go over youngsters’ heads — like “Finding Nemo” or “Up” — Rock Dog is strictly for kids.
  56. A Cure for Wellness
    The story submerges and drowns in preposterous gothic nonsense.
  57. Fifty Shades Darker
    Since Dornan is as dull as a catalog model anyway — he wanders through the movie like an Abercrombie searching for his Fitch — the shopping-list look of the movie makes sense. But Dakota Johnson deserves better.
  58. John Wick: Chapter 2
    If you loved the original movie, you might not care so much about being given warmed-over seconds. Otherwise, this Wick has burned itself out.
  59. The Space Between Us
    At a certain point, the film gains atmosphere and is rescued by the sincerity and sweetness of the young actors. Better, the plot finally hits a groove in the final quarter, and a soaring soundtrack twangs the right emotional notes.
  60. Resident Evil: The Final Chapter
    True, the movie's intense, and Jovovich is certainly in fighting shape. But after 15 years of this franchise, it's getting hard to tell Alice from the things she's fighting. It's all squint and grunt, slash and groan.
  61. Gold
    Turning McConaughey into a wreck through makeup and lighting is not an adequate substitute for character development. But it underscores something that the film gets right — the fact that underneath many pretty surfaces is ugliness.
    • 86 Metascore
    • 50 Critic Score
    The Red Turtle
    The animated feature The Red Turtle is about as far as you can get from a typical cartoon movie musical. Except for a few tsunami crashes and howls, this lovely but tortoise-paced work from the celebrated Japanimation house Studio Ghibli is basically a silent film.
  63. xXx: Return of Xander Cage
    Diesel is the star (as well as a producer), in every scene. And he drags the film down with him.
    • 63 Metascore
    • 60 Critic Score
    Split
    Split smacks of the director’s past fare, and its suspenseful, scary tone recalls "The Sixth Sense." When Shyamalan embraces his identity as a horror director with a knack for surprises, more fun is had by all.
  65. The Founder
    The details of how the McDonalds literally invented the fast-food concept are fascinating. The period details feel right. All in all, the film's a slick, good-looking package. But it still feels empty. Where's the message? Where's the meaning? Where's the beef?
  66. The Bye Bye Man
    The young cast is generally okay. The real pleasure is the rare appearance by Oscar winner Faye Dunaway, who plays as a woman who may know how to defeat this spirit.
  67. Underworld: Blood Wars
    Blood Wars concludes with the threat of further sequels, but this is clearly one franchise that's been fully drained of its blood.
  68. Live by Night
    Although Affleck's been a decent director - capturing real local color in "Gone Baby Gone" and "The Town," building tension nicely in "Argo" - his work here is dim and dull. Live by Night may be about rum, but the pacing is like molasses.
  69. Patriots Day
    It works so hard to evoke a sense of teary patriotism it leaves behind a grimy feeling.
  70. Passengers
    It loses some of its warmth, and most of its charm. And it ends up as nearly as cold and creepy as the space it takes us through.
  71. Solace
    The FBI once again calls upon Anthony Hopkins to help them find a serial killer in Solace. Even though he isn't playing Hannibal Lecter this time, he's still the best thing going for this mostly dull film.
  72. Hidden Figures
    Hidden Figures is an earnest movie, but not a very exciting one. The screenplay feels as engineered as a Gemini rocket launch, with every scene and line carefully calculated.
  73. Office Christmas Party
    For a movie that was advertised as the wildest bash of the year, Office Christmas Party has a few too many plotlines and not enough actual debauchery.
  74. The Eyes of My Mother
    In some ways, Pesce's film is often more disturbing for what it doesn't show than what it does, with the last act probably the hardest to watch.
  75. Bleed for This
    The movie's no knockout, but at least it gives us one good performance, and one great one.
  76. The Monster
    Bertino is just concerned with making you feel for his characters — and that he manages to do competently, despite their deep flaws. Well, that and spill some popcorn along the way.
  77. Billy Lynn's Long Halftime Walk
    Real films breathe, alive with imperfections, accidents, with everything that Lee's worked so carefully to guard against. Billy Lynn's Long Half Time Walk is long, all right, but only half-alive — as careful as a diagram, as chilly as a statue.
  78. We Are X
    Whether or not the movie turns you into X-philes, Yoshiki is hard to shake.
  79. Trolls
    Trolls just feels very formulaic, and having a pop superstar like Timberlake in your voice cast, and deliberately not having him sing until near the end just seems like a waste of that talent.
  80. Doctor Strange
    It's fun to have new version of an old Marvel favorite, and a storyline which adds some genuine mysticism to this ever-expanding franchise. But "Strange" is too often only odd when it needs to be truly magical, and Hollywood-safe when it needs to be brave.
  81. By Sidney Lumet
    By Sidney Lumet is less a true documentary and more a long, previously unseen interview given by the director three years before his death in 2011.
    • 46 Metascore
    • 60 Critic Score
    The Whole Truth
    While it does fall victim to a number of genre tropes, it is fronted by a believable Keanu Reeves and a pleasantly deceitful Renee Zellweger. Plus, an agreeable performance from the defendant character, played by Gabriel Basso, keeps the story pulsating.
    • 54 Metascore
    • 60 Critic Score
    Michael Moore in TrumpLand
    The film is better when Moore is joking about America’s problems, presenting fake Trump ads or offering a parody news broadcast from the day of Trump’s inauguration, but he doesn’t do enough of that in TrumpLand.
  84. Keeping Up with the Joneses
    In Keeping up with the Joneses, I was unable to focus on Hamm's comedic efforts, so interested was I in the ever-changing cinematography of his slick black hairstyle.
  85. American Pastoral
    Alightly boring, but slightly moving film.
  86. Ouija: Origin of Evil
    Ouija: Origin of Evil offers some easy scares and cheesy fun, but if nothing else, it gets points for not losing sight of its characters amidst those scares.
  87. The Accountant
    The problem is that endings matter. I was thrilled at watching more than an hour of Ben Affleck playing Christian Wolff as a socially awkward, arithmetically gifted, martial arts expert sharpshooter. But then the plot devolved into nonsense for the final stretch, leaving me wanting to garnish the filmmakers' wages.
  88. Shin Godzilla (Godzilla Resurgence)
    Despite the movie's darker tone, there's still room for humor when you have rooms full of diplomats and scientists discussing how to contend with a "giant unidentified creature."
    • 36 Metascore
    • 40 Critic Score
    Flock of Dudes
    The supporting characters are lifeless vessels in a movie that fails to break away from the traps of the hit-or-miss romantic comedy genre.
    • 34 Metascore
    • 60 Critic Score
    The Late Bloomer
    While The Late Bloomer comes to a bit too wrapped-up-in-a-bow resolution, it's still a refreshing reminder of just how pervasive sex is and how much it plays a role in everyone's lives.
  91. The Girl on the Train
    Director Tate Taylor, who neatly wove together women’s stories in “The Help,” is out of his depth with a thriller. He fills the screen with endless close-ups but not a lick of tension.
  92. Mr. Church
    Murphy’s low-key but affecting performance is filled with loaded and loving glances. And the restraint becomes the 55-year-old star. If only the film were better.
  93. Storks
    The jokes in Warner Bros.'s new animated flick mostly fall flat, the characters are largely unlovable and the simplistic plot expects more from its audience than it gives.
  94. The Magnificent Seven
    Instead of ever getting truly "Magnificent," these multicultural gunslingers remain largely a meh seven.
  95. The Wild Life
    Felines, too often maligned as conniving and sly, get no love in The Wild Life, a tale that's inspired by Robinson Crusoe and perpetuates dangerous kitty stereotypes. And that's the best part of the movie.
  96. Ithaca
    Ryan’s debut as a director is a sketchy and starchy film. The memorable thing about the movie is that Hanks, still one of the biggest stars on the planet, stepped up for his “Sleepless in Seattle” and “You’ve Got Mail” partner.
  97. Morgan
    A lot makes me uneasy about where biology and technology are going. But Great Scott! Is Morgan really the best you can do?
  98. Sully
    The film barely lasts an hour-and-a-half. Maybe that’s the problem with the movie. There’s not enough movie.
  99. Mechanic: Resurrection
    It's fun for a while, on a simple, single-shooter, video-game level. And for a change, the movie's stunts plug into Statham's pre-Hollywood career as a champion diver; this may be the most watery thriller since "Thunderball."
  100. The Hollars
    The cast, led by John Krasinski, who doubles as director, has its own fight against the lame and contrived script by Jim Strouse.
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