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. A solidly crafted, entertaining melodrama.
  2. Keane is a movie you might see on a dare, and though I think it is brilliantly conceived, I wouldn't dare to dare you.
  3. The result is an undeniable and effective authenticity.
  4. Denis' slow, deliberate style shuns typical suspense techniques, relying instead on something far more effective: a stunning performance by Testud.
  5. Sin City snaps, crackles and pops like no graphic novel ever brought to the screen. Mixing live-action with computer-generated images, it looks like the novels, talks and bleeds like the novels, is as muscular and voluptuous as the novels - and it leaves you breathless as only a movie can.
  6. Most of the movie's rewards are in watching Morton.
  7. If you're seeking transcendent love this season, skip the morose "End of the Affair" and go with Anna and the King.
  8. 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.
  9. Sidewalk Stories manages to expose the modern-day realities of New York while at the same time recapturing the sentimentality and charm of the classic films of the silent era. [03 Nov 1989, p.47]
    • New York Daily News
  10. It stands apart when it comes to its extravagant humor and non-judgmental '70s-era reality (smoking dope, hitching rides, playing Frisbee, hanging out).
  11. Scary, all right, but not for the reasons the Dallas church had in mind.
  12. Busch lovingly and meticulously channels such grand dames as Joan Crawford, Barbara Stanwyck and Norma Shearer in a way that surpasses imitation, camp and drag show. He captures their essence, and therefore the essence of cinema itself.
  13. The supporting cast, including Ving Rhames, Laurence Fishburne and gorgeous Maggie Q, is underused, but the movie delivers the goods.
  14. Stoked supplies a unique perspective on the hazards of rock-star fame that went with the sport's explosion for a band of rebels who didn't see it coming -- or going.
  15. At moments, the story skirts uncomfortably close to the grotesque. But this atmospheric oddity delivers a surprisingly sensitive take on the overwhelming ache of loneliness.
  16. The upside and downside of surveillance cameras are explored in ways both funny and sad in writer-director Adam Rifkin's imaginative, ultimately disturbing ode to high-tech voyeurism.
  17. Knowing that the director is Robert Altman gives you a good idea of what to expect: a demimonde of locker-room chatter, catty sniping, backstage politics, high art and low self-esteem. Altman constructs the movie with the same cross-currents of his other ensemble movies.
  18. Offers only the smallest glimmer of hope that the two sides can work things out through ingenuity and compromise.
  19. A marvelous cross between "Secretary" and "Lost in Translation."
  20. Don't let the slow, deliberate pace fool you. A lot is going on in David Cronenberg's masterful A History of Violence, and you'll miss it if you blink.
  21. The startling documentary Daughter From Danang cautions once again to be careful what you wish for.
  22. There was no burning need for a remake, but this one is respectful of its predecessor. It incorporates the technology and acquisitiveness of the intervening quarter century since Romero's vision. It even features a metrosexual, something unheard of in 1978.
  23. Though the film is as long as the escape route, Richter's brisk direction keeps us riveted through the suspenseful finish of his vivid history lesson.
  24. While there is nothing particularly new in the film, it is a stirring celebration of a man of enormous talent, humor and humanity, laid waste by an assassin in New York in 1980.
  25. Though the film is dark and the ideas run deep, it's perversely fun to think about.
  26. Heated speeches about the International Monetary Fund, debt relief and global responsibility may not sound like your idea of Friday-night entertainment, but Sissako makes a strong case.
  27. There are a few fight scenes, but they're as unshowy as the rest of this restrained film. If your warrior ideal is Uma Thurman in "Kill Bill," you may not have the patience this gentle story demands of its viewers.
  28. If there's anybody left who believes in free discourse, the students were clear winners.
  29. Has the schematic feel of a disease-of-the-week TV movie, but the connections made between jazz and the minds that produce it turns the film into something much more intimate and compelling.
  30. Shortland's script takes some unnecessary turns, mostly with Joe's drinking and sexual insecurities. But as long as it's focused on Heidi's predicament, it is riveting drama.
  31. Unlike most indie directors dealing with this sort of material, Maggio refuses to wallow in the romance of either misery or redemption. Instead, he hangs everything on the honesty of his lead, unknown actor Jordan -- who is so good that if there's any justice, he won't remain unknown for long.
    • New York Daily News
  32. The combination of the ancient tinted footage and Butler's crisp, sweeping vistas of the same areas provides a breathtaking recap of one of history's most stirring rescues.
  33. Still witty and eloquent, these cerebral boys became the haunted men who do their best to share their experiences with us, even as they know we'll never truly understand.
  34. Ultimately, Eyes Wide Shut doesn't rank among Kubrick's best work.
  35. With its cheerful hailstorm of anachronisms and classic-rock soundtrack, there's nothing medieval about it.
  36. Perhaps the most evocative movie of the new year, Campbell Scott's Off the Map, moves at the pace of a Southwestern sunset and ends before you're quite ready to let it go.
  37. The performances are first-rate, with the always inventive Macy a standout as the hopeful, tormented Chappy, and Zahn a scream as the lovably imbecilic Wayne.
  38. Passionate, enlightening and unabashedly one-sided, Abby Epstein's documentary is not for everyone. But at the very least, it should be seen by every pregnant woman in America.
  39. Super Size Me produces more laughs than a man's gastrointestinal distress should.
  40. Nachtwey's pictures tell a tale of grief and suffering, and Frei's you-are-there approach gives those photos startling immediacy.
  41. Seen through Demy's eyes (and Raoul Coutard's shimmering black-and-white photography), their extravagance is so effortlessly cool, you feel somehow lucky just to be there with them.
  42. A psychosexual thriller that treads a thin line between art and exploitation. The mere fact that it manages this queasy high-wire act is what sets debut director David Slade's slick mind game apart from the drooling pack.
  43. With its intriguing relationships and sacrificial acts, Alice is a good alternative to happily-ever-after fluff.
  44. The star of this overachieving trifle is not Kidman, it's Paul Rudnick. The New York playwright and screenwriter ("In & Out") has taken a pair of dated watermarks from the '70s - Ira Levin's horror novel and its faithful 1975 movie adaptation - and turned them into a broad, feverishly fey parody.
  45. What a treasure - a funny, tart, romantic comedy about tweens suffering the pangs of first love. It makes the cityscape an essential part of the romance, like a junior, vintage Woody Allen.
  46. The plot is formula all the way, but Lawrence has found a way to incorporate the physical techniques of the great silent stars with his standup comic's arsenal, and it's a pleasure to watch him at work.
  47. The course of Martha's relationships with Lina and Mario holds no surprises, but the performances of Gedeck and Castellitto, like the work of a great chef, make something special out of something very ordinary.
  48. Terrifically sneaky psychological thriller, which takes great pleasure in watching carefully constructed family values come tumbling down.
  49. A lovely, almost painfully intimate story of female bonding that never panders to its characters or its audience.
  50. As befits a production of impeccable French pedigree, the acting, set design and lush cinematography are all outstanding. But the story is told so slowly.
    • New York Daily News
  51. A remarkable second feature from writer-director Yesim Ustaoglu.
  52. Hard to watch but important to see.
  53. Compelling and highly informative.
  54. A plague of child kidnappings in Italy during the '70s provides the background for this chilling, deceptively simple tale of a rural boy who unearths terrible family secrets and rises to the moral challenge they present.
  55. Clever, slightly edgy fun.
  56. O'Connor plays Fanny with an appealingly direct, unflinching gaze.
  57. The production is fantastically funny, high-energy camp, punctuated by Trask's infectious score and by Mitchell, dressing in a succession of wigs twice the size of his body.
  58. Director Margarethe von Trotta nearly buries the drama of the protest itself within the awkwardly sentimental framework of a contemporary New Yorker's quest to learn the truth of her widowed German mother's grief and history. But while the film concentrates on Lena, eloquently portrayed by Katja Riemann, the movie earns your empathy.
  59. The greatest strength of this modest production is Jones. ZigZag's autism is mild, meaning his symptoms are subtle, and the 19-year-old novice is completely convincing.
  60. One of Rohmer's more engaging slices of life. The acting is impeccable.
  61. Given the physical limitations of their characters, Polley and Robbins give remarkably compelling performances, and though the resolution of their slowly evolving relationship is a bit too pat, it is one you won't soon forget.
  62. I didn't feel the love between the flowering idealist and the ruthless killer. If I did, I would have given the movie four stars. Everything else is wonderful.
    • New York Daily News
  63. It comes off as a fairly straightforward assault on the kind of political corruption that has crossed party lines in movies since the dawn of the medium, and in books before that. The pleasure here is in the dialogue, the characters and the cast.
    • 84 Metascore
    • 75 Critic Score
    It's rather confusing. But in the context of this wildly imaginative movie, it's all, rather exciting, too.
  64. Although Voyages is mapped with anguish and fear, director Emmanuel Finkiel's characters are survivors, and he never lets us forget it.
  65. Though younger fans of Cameron's 1997 blockbuster may be a little disappointed at the lack of, well, Leo, Cameron persuades us to share his obsession with the ship's history.
  66. The remarkable footage includes damning evidence of how the media, the people and the army were manipulated. Which leads to that eternal question - if it's not on TV, did it really happen?
  67. Sometimes veers off into preciosity. But it offers something rare in the bond between Andrew and Sam.
  68. 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.
  69. There's a lot of flashy acting going, notably by Travolta, who has not been more engaging on-screen in a decade, and by newcomer Barrett, a willowy Aussie who, as a woman living with the specter of death, gives the film's most complete performance.
  70. And oh, what stories these heroes have to tell - and what incredible sights they brought back with them.
  71. If her (Noujaim's) movie teaches us anything, it's that no reality remains unspun.
  72. A farce nearly as cracked as his previous "The Dinner Game."
  73. Gaudi Afternoon, adapted from Barbara Wilson's novel, is a setup for a smart ensemble comedy, and the cast delivers in hilarious deadpan style.
  74. With its colorful embroidery, Monsoon Wedding feels pleasurably grounded in a reality about which most Westerners haven't a clue. This may be their only engraved invitation.
    • New York Daily News
  75. A fascinating, somewhat frightening documentary.
  76. With a respectfully committed cast, gorgeous scenery and two sad-eyed leads that will break your heart (the kid and the dog are equally adorable), this is clearly not your typical family film. Which will make it that much more appealing to every member of your family.
  77. The jokes are wild, raunchy, surreal and dead-on.
  78. The charismatic young women who populate Daniel Peddle's illuminating documentary are vibrant proof that there's still an untold story waiting around every New York City corner.
  79. Carrey's performance is a tour de force of physical mime.
  80. Genuinely entertaining and, thanks to a well of self-deluded quotes from the men, shockingly funny.
  81. It's a wonderfully silly family movie that holds its audience in high regard.
  82. Seems like a genteel "Psycho."
  83. Gentle, funny and full of the lessons one expects from the scions of the late Jim Henson.
  84. Shot in Morocco with hand-held cameras, the movie has the urgency of a heart attack. Clearly tilted against the war, and heavy on explanatory dialogue, it paints a bleak picture of a desperate country that is being exploited by extremists at the expense of the despairing citizens. The situation is dire.
  85. Sometimes painful, often joyous, and altogether illuminating.
  86. The title might as well refer to the viewer who tags along on Louis' often-silent journey from solitude to some tentative form of family. Some will consider the experience insurmountably frustrating; others will find it exhilarating.
  87. A satisfying chick flick that follows all the usual rules of the modern romantic comedy except one - it's not stupid.
  88. A comedy hit, but its secret is that it delves deeper than the usual summer fare.
    • New York Daily News
  89. Despite the obvious cultural differences, what we come away with is a surprising sense of familiarity. Not even the widest political chasms, Gordon finds, can eradicate the universal pleasure of a young girl's giggle.
  90. A relatively straightforward portrait of Holmes, using interviews with family members, friends, wives, X-film producers and his former co-stars.
  91. Mendes -- wants to have it both ways, to get close to mob life, but be no part of it. And he keeps us at a dime-novel distance, too. He has made a dreamy, poetic impression of a world that exists only on film and in comic strips, and that has no resonance for most of us.
    • New York Daily News
  92. Jacques Audiard's amusingly stinging A Self-Made Hero toys with the subjectivity of historical truth by presenting one Albert Dehousse (Mathieu Kassovitz), loser, cipher, liar. But a brilliant liar. [12 Sept 1997, p.44]
    • New York Daily News
  93. Good, indecent fun starring two of the most amiable comedy actors around.
  94. Forces the audience to rethink the riots in new and difficult ways, to find empathy and revulsion where it might not have known they existed.
  95. Kudlácek's primary focus, however, is on Deren's work, which means we don't learn enough about her complex, fascinating personality. On the other hand, she's offering a too-rare opportunity to see substantial portions of Deren's seminal films.
  96. The movie raises questions that are on plenty of minds right now, including whether and how much the rules should be bent to wage a war (in this case, on drugs) that cannot be won conventionally.
  97. Morton's as good an actress as any working today and in Control, she overcomes an age gap to give one of the year's most heartbreaking and honest performances.
  98. Both compelling and disturbing, this tragicomic documentary follows five dreamers as they pursue romance.
  99. A vanity project so preposterous it deserves to become an instant camp hit.

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