New York Daily News' Scores

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:
6911 movie reviews
  1. When these two powerhouse performers come together, a rather predictable tale ignites with surprising force.
  2. There’s never a false moment.
  3. The result is a feast for the senses.
  4. There are certainly glimpses of his underused talent. But there aren't enough of those moments to elevate Croupier above the level of routine melodrama.
  5. What keeps these mother-daughter tumbleweeds from drifting right out of consciousness is the unique rapport between the actresses.
    • 75 Metascore
    • 88 Critic Score
    "I write 19th-century stories; they're supposed to affect you emotionally," says Irving, explaining why Tinseltown keeps knocking at his door.
  6. Hand-held cameras give their surface showbiz relationship a sense of immediacy that, like love itself, has more than a hint of danger.
  7. Based on the true story of the first emperor of unified China, could be downsized and told as an American Western.
  8. Ryder is particularly impressive in her destructive passion. [27 Nov 1996, p.39]
    • New York Daily News
  9. At only 70 minutes, Goodbye to Language, a Cannes Film Fest Grand Prix winner, has no discernible plot. It’s more like whiffs of a story we sense happening somewhere outside the film.
  10. Lost in La Mancha basically catches "Don Quixote" in free fall…It's our loss nonetheless. Gilliam is one of the great film fantasists of our age, and one expects he would have done Cervantes proud.
  11. The plot is intricate and tight. The preamble is a bit challenging to sort out. But the movie's engine is the relationships and the characters' inner lives, all of it boiling with emotional intensity.
  12. Jack Black adds new depths to his slippery comic persona in Bernie, a movie that may not ultimately add up to much, but which is filled with wonderfully odd details of weird Americana.
  13. This amazingly beautiful, and amazingly frightening, documentary captures the immediacy of what climate change is doing to the Arctic landscape.
  14. If this sounds like a typical date movie, worry not. It's very much an Apatow production-though the crasser additions, like his already-notorious food poisoning scene, feel painfully forced.
  15. Though the Chinese government won't be too happy about it, everyone else ought to be deeply moved by the tragedies Peosay records.
  16. Directed tastefully by Ralph Fiennes, The Invisible Woman is very lovely to look at. But it lives up to its own title too well.
  17. It’s smart, funny and bursting with ideas about the joys and rigors of motherhood and reckoning with the past and the future. It’s too bad, then, that the final head-scratching stretch sinks what’s preceded.
  18. A fascinating whirl of politics and palace intrigue.
  19. Segel and Nicholas Stoller, who made "Forgetting Sarah Marshall" together, wrote the screenplay for The Muppets with obvious intent: to return these icons to their former glory.
  20. The fear, desperation and hope of Time Out of Mind is painfully, hauntingly human.
  21. This is an extremely watchable and enjoyable film, but its compression of historical events does become a tad silly.
  22. The Beat That My Heart Skipped has nonetheless brought attention to a nearly lost classic. For more than two decades, "Fingers" was not available on video or DVD and was rarely screened. But it's available now, and if you've never seen it, put it on your must-rent list immediately.
  23. Rather than heightening our sense of empathy, we become numbed by the repetition.
  24. Perfectly modulated in its tone and performances, Lawless Heart is content to be a small, quiet film. We could use a few more like it.
  25. From folk festivals to political rallies, Masud never overlooks the cultural and emotional elements of a country at a crossroads.
  26. Shrek 2 delivers more fun than there is slime in a green ogre's swamp. Much of that is thanks to Antonio ­Banderas, who runs away with Shrek 2 on little cat feet.
  27. The best part of Zatoichi is its fine sense of rhythm, culminating in a galvanizing clog-dance finish.
  28. A suddenly vital biography, Make It Funky, pays apt homage to the unique gifts New ­Orleans has given its country over the last century. Watching it ought to inspire anyone to return the favor.
  29. Less bloody than its predecessors, Lady Vengeance wraps up with a killer (literally) finale that calls into question the killer instinct. It's one of the reasons Park's brutal films are so emotionally rewarding.
  30. While Enchanted wittily updates traditional tales, it is, in the end, as carefully calculated in its appeal as any movie ever was.
  31. To maximize your entertainment budget, look no further.
  32. The movie is by turns a romance, a chick flick, a coming-of-age film and even a stoner movie. There’s something for everyone, with the possible exception of cretins who don’t appreciate great writing, casting, directing and especially acting.
  33. Spy
    The moments when Spy falls apart are when the film fancies itself the real thing. The times when it works are due to its leading lady.
  34. The whole movie is a blast, thanks to a whip-smart script clearly written for kids and grownups alike.
    • New York Daily News
  35. Naive or wicked, idealist or egomaniac: Nothing in Ralph Nader's character is agreed upon by everyone in this fascinating biography - with one exception. And the title says it all.
  36. So be forewarned: What admirers will consider measured may read, to the unimpressed, as merely slow-moving.
  37. This seemingly ordinary biographical documentary about the retiring animation master unfolds, at a deceptively gentle pace, into a work of immense beauty.
  38. Corporate inhumanity Berlinger ferociously exposes.
  39. 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.
  40. Makes the most of its format, soaring when its young hero rides on his winged reptilian pal, and full of heart and heroism even when its action is grounded.
  41. A brilliant and astounding black comedy.
  42. The movie respects a viewer’s intelligence, which should also serve as a warning; don’t be lulled into a stupor. Keeping sharp will allow all the fun and menace in this terrific thriller to seep into your head.
  43. It leaves the port of enterprise and arrives on the far shore of art.
  44. Perfect for families and exquisitely shot, this entry from the Disneynature division is even better and fresher than last year's "Earth."
  45. Director Scott Teems' film is as quiet as untilled soil -- not always a good thing -- but Holbrook has a handle on where to dig.
  46. Every adult who owes a debt of gratitude to American soldiers should see Kirby Dick's heartbreaking documentary about sexual violence in the military.
  47. Good music stands alone, and the documentary is jaunty fun.
  48. The story is compelling, but Metropolis is such a visual masterpiece, it's easy to get lost within its seemingly endless layers of graphic complexity.
  49. There is no great story being told here. Mostly, it is a conventional road movie - a buddy comedy even - about the quests of two likable guys. The memoirs exist only because of Guevara's subsequent fame as a revolutionary leader in Cuba, Congo and Bolivia.
  50. There is a train-wreck quality to this film. The story is so astounding, you can’t look away. But as a documentary, there are so many questions both unasked and unanswered that it feels more like reality TV, mostly about the spectacle.
  51. Built from a perfect story-telling collaboration.
  52. Inside these average American lives are futures far too often passed over or, worse, written off. This terrific film gives the teenagers their due.
  53. Remarkable first film.
  54. Sometimes, more is less. Although it’s called Captain America: Civil War, the latest Marvel movie is actually a supersized “Avengers” picture -- overstuffed to bursting.
  55. At heart, Middle of Nowhere offers material we've seen many times before. But between her perceptive direction and Corinealdi's layered performance, this modest, micro-budgeted story has been beautifully packaged.
  56. Moll clearly has looked to Hitchcock and Clouzot for inspiration. There are sexual undercurrents between characters, psychological quirks and a murky veneer like the surface of the pool in "Diabolique."
  57. Some of the simplest shots give you the full picture of the price these guys paid for their dreams.
  58. Levinson is so skillful at developing personalities, even among the story's would-be villains, that by the halfway point of the movie, every gesture and expression has unexpected depth and texture. The performances are across-the-board superb.
  59. Simple, joyful and downright innocent movie.
  60. The result is a long night of confrontations that feel heavily rehearsed and unlikely. There are some good moments, but I didn't believe any of this.
  61. The best part is during the closing credits. Dustin Hoffman does a brilliant, dead-on impression of Evans that captures the essence of the man more than all the self-serving grandiosity that preceded it.
  62. Features an absurdist sensibility that ultimately melts your heart. It's certainly one of the stranger movies you'll see.
  63. Gentle and understated (if somewhat creepy).
  64. Digs up familiar ground without adding any fresh dirt.
  65. If, unlike his friends, you don't take anything Andre says seriously, there is a wicked sense of fun about it, and you may even see a little of yourself in one of the characters.
  66. A pleasant romp through the land of Truth Is Stranger Than Fiction.
  67. The movie sometimes has the feel of an Olympic sprinter running in place. There’s so much energy expended to get to one spot. Constant searches beget more searches. It all gets exhausting.
  68. Both lovely and wrenching, So Yong Kim's intimate drama feels so honest, it's often difficult to watch.
    • 75 Metascore
    • 80 Critic Score
    This version feels a lot less like a long advertisement for Lego products than the original, which featured multiple "here's how to build something cool" segments. And "LEGO Batman" uses pop culture better than the original.
  69. People unfamiliar with either man may think Altman is mocking Keillor and his 32-year-old radio program here. But, it is pure affection, and the movie is as much up-tempo, irresistible fun to watch as the show is to hear.
  70. Intensely compelling documentary.
  71. Both public tribute and private therapy session, Baadasssss! should have been a self-conscious disaster. By confronting his past with wit and style, Van Peebles has instead created a meta-cool history lesson and homage.
    • 75 Metascore
    • 80 Critic Score
    Trainwreck is rarely as laugh-out-loud funny as early Apatow or “Inside Amy Schumer,” but it is consistently amusing and constantly engaging.
  72. The Specialist allows Eichmann to convict himself, not of complicity in the Holocaust -- to that he pleads guilty, by reason of nationalism -- but as a man unfazed by his own inhumanity.
  73. A comedy hit, but its secret is that it delves deeper than the usual summer fare.
    • New York Daily News
  74. Gosling's performance is a stunner, although the story-telling is otherwise pedestrian. It is the movie's blessing and curse that it does not shy away from Danny's murderous, inexplicable contradictions — or explain them.
  75. Winterbottom informs us that, though fictional, his story represents thousands of real lives, and there is a hardly a false note, which makes this both a difficult and exceedingly memorable film to watch.
  76. Uses social and historical perspective to explain what happened then and, perhaps inadvertently, what's happening now.
  77. Both frustrating and instructive.
    • New York Daily News
  78. Yet another film from Iran that has the leisurely pace, sly humor and incontrovertible wisdom of a Sufi parable.
  79. Fascinating, amusing and ultimately disturbing.
  80. The twists and turns involve a high-level assassination, corrupt cops, squint-inducing violence and plenty of fearlessness.
  81. The movie grips us partly because Bakri’s performance is alternately casual and calculated.
  82. The perfect summer action flick. It’s full of attractive people, gorgeous locations, loathsome bad guys and a pounding score that ties it all together. This is what the “Fast and Furious” movies want to be, and the Bond pictures used to.
  83. What’s crucially missing, however, is a hissable villain. Nor are there any memorable tunes, which is too bad given that Broadway star Menzel is playing Elsa.
  84. As wide-ranging, and yet as sharply focused, as Mikal Gilmore's book.
  85. A simple story that resonates deeply, largely thanks to the actors' ability to invest it with inner life.
  86. Belvaux says his tryptich...are stand-alone movies that can be enjoyed in any order. I disagree. None is a complete experience and "An Amazing Couple" can be easily skipped. But the first and third add up to something very poignant and satisfying.
  87. While Shelly's stylized vision and sentimental intentions don't always gel, they do result in a warm, often charming fantasy.
  88. We already know Kristen Wiig can act. So the real revelation in The Skeleton Twins is Bill Hader, who turns in a performance so overflowing with poignancy that he deserves to be considered on any early awards list.
  89. Such dark doings won't be for everyone, but fans of similarly dry Nordic fare -- like the works of Aki Kaurismaki -- will be happy to have found it.
  90. This trip through the seminal performance artist's (often literal) body of work is sometimes too cozy, yet Abramovic might argue that objectivity is impossible if truth is the destination.
  91. The Bridesmaid is fairly familiar Chabrol country, an exploration of the psychological undercurrent of the bourgeoisie, with heavy helpings of black comedy.
  92. The charming, soulful Me and Earl and the Dying Girl is a movie that loves movies — which is great, because you’ll love this one.
  93. Though we wander a bit, the trip is a delight, thanks to the witty company.
  94. What emerges is a portrait of the "psychic risk," as her father says, of living a creative life - and the intense feeling that entails.
  95. When the grade-school kids are Israelis and Palestinians, the initially reluctant, moving duets they finally perform make you feel like, yes, dancing.
  96. Moore's most assured, least antagonistic and potentially most important film.
  97. Any which way you describe this uncompromising movie, it will never sound palatable. Still, it features one of the most spectacular physical transformations by an actress hungry for a meaty role. I haven't used the term "tour de force" in all of 2003, but now it is time.

Top Trailers