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. Like a Hollywood buddy-cop movie gone through a multi-culti blender. It holds up a funhouse mirror to that familiar scenario in which a maverick cop breaks the rules.
  2. The jokes come in endless flurries, and if they're working - even at a ratio of 1 in 4 - you're laughing more than you're not. The Zucker-Proft team simply has a higher batting average than the Wayans.
  3. Opposite attracts with its wit.
    • New York Daily News
  4. The scourge of the 20th century has become a sage and hero to a new generation of haters.
  5. It is full of goodness of purpose, sweetness and nobility of character. [05 Aug 1954, p.38]
    • New York Daily News
  6. Almada steadfastly reserves judgment, which means we don't learn if there are members of the Mexican community who disapprove of corrido's hard-edged lyrics. But she makes a pretty good case for its passionate fans. Like them, we're left unable to get the music - and the musicians - out of our heads.
  7. Not without missteps and the occasional mouthful of sugar, but it grows on you.
  8. You'd never guess this just-off-center movie was directed by indie hero Gus Van Sant. Maybe, like Will, he's casual about his gifts and feels no need to trot them out.
  9. The filmmaker's ego and ethics aside, there's no denying the power of Wuornos' behavior here.
  10. Amanda Micheli's candid documentary introduces us to two of these real-life daredevils, and it is a genuine pleasure.
  11. The movie falls apart toward the end as it enters "Eyes Wide Shut" territory, but until then, it's fun to see bookworms cast in the James Bond mode.
  12. A long sit for those unfamiliar with Proust's literary quest and output, but the view is sensational.
  13. Hugo Weaving, weaving deftly beneath a fixed plastic grin and Prince Valiant wig as the mysterious avenger in V for Vendetta, both chills and amuses throughout this enjoyable - if occasionally irresponsible - comic-book thriller.
  14. A technical and visual tour-de-force.
  15. Blood Diamond is, in the vernacular of Old Hollywood, a rip-roaring adventure, the kind made in the '30s with Clark Gable and the handiest leading lady on contract at MGM.
  16. Unlike Patch Adams, Sy is not lovable. But you wind up feeling for him, much as you feel for Sy's pet hamster on that endless wheel.
  17. Perhaps not since Truffaut's "The Story of Adele H" has thwarted love been rendered so compassionately on the screen, its psychology laid bare.
  18. Depp may not be a trained singer, but his voice is more than passable, and his presence - his Sweeney is Edward Scissorhands gone bad - is perfect. Bonham Carter sings well, too, and young Ed Sanders, as the pie shop's Dickensian apprentice, is a delight.
  19. Has something to add about the toll Western society takes on spiritual values, and the ugliness of consumerism.
  20. A genially mellow, consistently entertaining spoof.
  21. A personal eulogy, from one artist to another, and an indictment of all systems of government that deny people the right to free expression and the full realization of their talent.
  22. Refreshingly nondogmatic.
  23. Brodsky's last film before his death is a moving tribute to his career.
  24. The movie's intense focus skillfully exposes the raw pain just under the skin of a seemingly ordinary citizen.
  25. It's a smartly surreal little movie, and again shows why, whenever there's a role that calls for an actress who can speak volumes without much dialogue (as in "Minority Report" and "Sweet and Lowdown"), the call goes out to Morton.
  26. An update with a jolt of sheer exuberance.
  27. May actually appeal more to women than men because of the steely heroine, the pitting of love of family against love of filthy lucre -- and the mom-fights-back plot.
    • New York Daily News
  28. The filmmakers' decision to go with prosthetic enhancements rather than CGI gives the snouts, fangs and snapping jaws a refreshingly tactile look.
  29. Works on two levels: Goldfinger does a terrific job exploring the broader history of Yiddish theater, while also homing in on the compelling story of the Burstein family itself.
  30. What most interests the directors is the way young minds are shaped by adults with clear moral and political agendas.
  31. Directors Adi Barash and Ruth Shatz do a brilliant job of letting the South African, Israeli, Cuban and Namibian men aboard speak for themselves.
  32. Once isn't especially complex, but the chemistry between its appealing leads (who contribute to the lovely score) feels deeply true. You'd have to look awfully hard to find such sincerity in a Hollywood romance.
  33. Basinger gives one of her best performances as a woman too young, poor and overwhelmed to handle motherhood. And the uncommonly self-assured Murphy proves again that she is a cut above other actresses of her tender years.
  34. Through a subplot dealing with Catholic missionaries, an underlying theme of Western encroachment on ancient Korean culture permeates this lushly filmed tale.
  35. Implausible yet enjoyably diverting thriller.
  36. It is a sign of the times that audiences will watch these equally selfish lovers and find one infinitely more sensible than the other.
  37. A cleverly written thriller in which he and Jim Belushi portray corrupt police detectives whose actions unleash an unpredictable chain of sometimes dire, sometimes hilarious events. [8 Oct 1997, p.32]
    • New York Daily News
  38. Some segments are anti-American, but to concentrate on that is to miss the variety, depth of opinion, and fierceness of the emotions that drive each director.
  39. it's Van Zandt's family that provides the film's most memorable moments.
  40. Take the Lead hits all the marks you'd expect of a movie like this, but it's done vibrantly and with warm-blooded characters.
  41. An old-fashioned joy.
  42. Aside from some resonant hints that all is not as it seems, the movie leaves it to you to decide where the truths begin and ends. You'll be untangling Dresnok's knotty reality long after you leave the theater.
  43. The monster's mashing of Tokyo looks as Ed Wood-like as ever, but the film's humanity gives it depth.
  44. The information here isn't necessarily new, but it is packaged in an acid-tongued way along with powerhouse visuals that drive home the filmmaker's nakedly political views.
  45. Corcuera is a deft and determined storyteller, and it's a testament to his passion that we're left wanting to know a great deal more about each of his subjects.
  46. A fascinating movie that explores grief from an emotionally truthful angle rarely seen in movies.
  47. Presents a refreshing appreciation of Chaplin's work in the context of comedy, political and social satire, and history itself.
  48. Bale gives a near-great performance as a man with all the symptoms of paranoid schizophrenia and the film weaves an ingenious psychological web.
  49. Beautiful, witty and provocative, this is one genre film that ought to appeal to fans and non-fans alike.
  50. What makes the film feel genuine, however, are the performances.
  51. Charming, funny and poignant. But it's also a reminder that if we want an intelligent teen romance, we have to import it.
  52. Nearly every actor has his or her moments of hilarity, but it's the surprises, like Herzog's terrific turn as a bunny-loving sadist, that make the biggest impact.
  53. Its social satire is so dead-on.
  54. Director Daniel Burman examines the ways people cope with the passing of time, whether it's weary mall employees, a broken family or the diminishing Argentinean-Jewish community.
  55. Furiously paced.
    • New York Daily News
  56. In the diamond-heist thriller Flawless, there aren't a lot of diamonds, heists or thrills. But there is a nice sense of style, and appreciation for tense face-to-face confrontations among characters trying to ignore the temptations around them.
  57. The power of this plot comes from the drudgery of daily existence, not shocking revelations or dramatic encounters. Some stories, Teixeira is wise enough to realize, are best left unadorned.
  58. Whether you lived through the period and will have fond memories jostled, or are scouting for future DVD pleasures, the surest way to see a good movie in a theater this week is to see one about them.
  59. The screenplay is laced with wit and sharp dialogue, and the supporting cast more than makes up for Johnson's inexperience and occasional stiffness.
  60. A rare window into the apparatus and limitations of glam-rock.
  61. Burman tends to focus very tightly on the details of individual identity - religion, nationality, gender. It is all the more striking, then, that his restrained and unassuming films are wise enough to speak to every adult.
  62. Director Wisit Sasanatieng uses every trick imaginable to create surreal postmodern nostalgia. Has he wound up with pure camp, or a cult classic? As he clearly understands, the best B-movies are both.
  63. Satires like this tend to throw a lot of stuff at the wall, and in Undercover Brother, a surprising amount sticks.
    • New York Daily News
  64. It's an intricate, at times incoherent, but often funny and consistently fascinating trio of stories with the same actors in different but related roles.
  65. While it's a geek's paradise from scene one, newcomers are likely to feel left out until they get their bearings. Fortunately, Whedon's characteristic humanity, coupled with the slyest sense of humor in Hollywood, greatly eases the transition.
  66. The slapstick gets a little too silly, and a rushed ending feels unsatisfying. But everyone whose family boasts an excess of opinions will relate.
  67. Absorbing, operatic.
  68. Watching Kevin Costner and William Hurt share grim laughs during Bruce Evans' Mr. Brooks is one of the pleasures of this totally absurd and equally entertaining psychological thriller.
  69. Everyone involved, from Marla's defensive parents to the cynical journalists who promoted and then turned on her, seems to have some sort of agenda.
  70. This South Korean political satire might not have historical resonance for American audiences -- it's loosely based on the 1979 assassination of dictator Park Chunghee by his own people -- but it takes the same comically dim view of governmental power and procedure as "Dr. Strangelove."
  71. Fascinating and often very funny behind-the-scenes look at the tedium and hard work that go into making strangers laugh.
  72. This is a lyrical art movie with admittedly limited commercial appeal, but worth seeing for cinematic explorers.
  73. Breillat has made an important, even essential work about the exploitation of young women's sexuality, but is not she complicit as well?
  74. The favorable three-star rating I'm giving the animated Pokémon: The First Movie is based at least partly on the fact that I expected to dislike it and didn't.
  75. Could well end up on the coming Oscar ballot for best foreign language film.
  76. A poetic and somber film that underscores the bum deal women usually get in any restrictive society.
  77. Sigourney Weaver is a riot in the cynical Faye Dunaway network boss role.
  78. Disturbing, visually stunning thriller.
  79. Thomas does an excellent job exploring the incendiary environment that shaped the band in the late 1960s. His primary interest, however, is simply to express and explain the thrill the MC5 still inspires.
  80. Cannibalizes "Saturday Night Fever" for everything from structure to plot, but does it adorably.
  81. As insightful as it is entertaining.
  82. This one uses sweeping compositions of nearly solitary figures as a reminder of what individuals stood to lose, and an auction scene is horrifying -- some livestock and a basket of everyday items are exchanged for a man's future.
  83. It's hard to imagine what Akin left unexplored - but here's hoping he'll share his discoveries if he ever returns.
  84. There is a hint of sentimentality among the pals at the end, but not enough to offset the film's harmless combination of camaraderie and wished-for - oh, how they wish for it - debauchery.
  85. The strong script (with updated flourishes by "Bad Santa" writers Glenn Ficarra and John Requa) and some of the vibrant child characters pull it through, with the comically reptilian Thornton egging them on with one inappropriate shocker after another.
  86. There are some problems with the pacing, but this topical thriller about CIA-sanctioned torture is one of the most important "message" movies of the year.
  87. This heavenly sequel, again directed by "McG" (aka Joseph McGinty Nichol), is infused with an irresistibly joyous spirit that simply cannot be faked.
  88. Long stretches go by without dialogue or discernible action. But there are significant rewards for those willing to accept the movie's deliberate pace.
  89. Surely among the darkest-themed movies ever made.
  90. There were a lot of people who came to regret investing their time and money in Park's brash dream. You won't be one of them.
  91. Jonathan Berman's documentary about California's famous Black Bear Ranch is a trip.
  92. Uses social and historical perspective to explain what happened then and, perhaps inadvertently, what's happening now.
  93. Yet another deceptively simple, supremely moving film from Iran.
    • New York Daily News
  94. After a moment's adjustment, it works amazingly well, because the emotions that drive teenagers like Jim to seek their places in the firmament transcend eras, fashion, even animation styles.
  95. An adorable family movie.
  96. It's almost a surprise that the sequel is actually better - much better - than the original.
  97. As intriguing and unusual as its title, this anime debut from CGI mastermind Michael Arias bursts with enough ideas for three movies.
  98. Characteristically lacking in narrative -- but what it misses in traditional plot devices, it more than makes up for in passion.
  99. Kids are going to adore looking at this movie, living in it, flying through and above its brilliant landscape. It's an animated joyride over a relief map of Manhattan. I just wish the script was as good as the paint.
  100. Wolfgang Becker's premise is absurdist and makes great sense as political satire.

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