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. Rio
    The main reason this gorgeous-looking, sweet-hearted but so-so movie remains grounded is a herky-jerky, cobbled-together story that squawks when it should sing.
  2. Scream 4
    After a promising start that uses Anna Paquin and Kristen Bell to perfection, they settle into their old stomping grounds as if they'd never left - and that turns out to be a letdown.
  3. The Conspirator
    Like his 2007 political drama, "Lions for Lambs," Robert Redford's fictionalized chronicle of Mary Surratt's 1865 trial is high-minded and slow-moving. Some may chafe at his unsubtle sermonizing, but strong central performances will reward the patient.
  4. Blank City
    Danhier backs all the memories with a collection of great clips, and it's extra fun to spot familiar faces (hi, Steve Buscemi!).
  5. Born to Be Wild
    Narrator Morgan Freeman manages to be both soothing and somber, so it's not until the credits roll that we realize how much more we want to know.
  6. Ceremony
    A story that never finds a reason for its own existence.
  7. Meek's Cutoff
    In this visually and emotionally severe landscape, Reichardt has created the sort of film that will inspire grad students to write passionate thesis papers - and casual moviegoers to feel as lost as her would-be settlers.
  8. Henry's Crime
    Director Malcolm Venville, who made the British gangster flick "44 Inch Chest," has a strong handle on the tone, so even the familiar twists feel fresh.
  9. Meet Monica Velour
    The deepest chord is hit by Cattrall, who almost manages to wipe away the memory of "Sex and the City 2."
  10. Soul Surfer
    Dennis Quaid lends some needed saltiness as Hamilton's supportive dad.
  11. Hanna
    The forced coming-of-age parable that filmmaker Joe Wright laces with fairy-tale symbolism is heavy-handed from the get-go.
  12. Arthur
    This Arthur is missing a soul.
  13. Your Highness
    It's Franco's straight-faced turn that grounds this proudly lowbrow caper from his "Pineapple Express" collaborators, David Gordon Green and Danny McBride.
  14. Trust
    Trust - a drama about the dangers of teen sexting and online predators - plays as prurient, ham-handed and amateurish.
  15. Queen to Play
    Kline, who has done a lot of chewy character roles after several stage ­triumphs, is as sly and leonine as ever. His performance here obliterates that phony accent he used in "French Kiss."
  16. Cat Run
    Though John Stockwell's action comedy is shamelessly derivative, his enthusiastic cast propels it much further than it should go.
  17. Wrecked
    It's a tribute to Adrien Brody that Wrecked works as a modestly compelling thriller, since there's almost nothing to see but Brody himself.
  18. Hop
    As fake and forgettable as a marshmallow Peep, Hop goes down easy enough.
  19. In a Better World
    World is grounded, offering up a rare case of well-earned hopefulness.
  20. Super
    Super starts off feeling like a cult comedy you might catch during a midnight film festival. But since Gunn never nails his tone, the concept makes more sense than the execution.
  21. Insidious
    Insidious doesn't feature the lazy, home-video-style terror of "Paranormal Activity," thankfully. But it's also pretty normal activity for a ghost story.
  22. Source Code
    The first film in a while to have a decent heart while quickening your pulse.
  23. White Irish Drinkers
    There's an unexpected appeal to John Gray's modest drama, emanating from its center.
  24. Potiche
    Neither Francophiles nor film fans could ask for anything more than François Ozon's latest, a charming comedy.
  25. Peep World
    The entire cast is solid, but most notable are Greer and Silverman, who make the most of unexpectedly serious roles.
  26. Mia and the Migoo
    Shares a spiritual link to the Japanese works of Hayao Miyazaki but lacks his films' narrative drive and magical overlay.
  27. Miral
    Any film as politically specific as Miral needs to be addressed on two levels, as a movie and as, from a certain viewpoint, a polemic. If a viewer can separate one from the other - and some may not - there's an intense, novelistic drama here.
  28. Sucker Punch
    If I were to guess how Hollywood envisions the inside of a teenage boy's brain, it would look exactly like Zack Snyder'sSucker Punch."
  29. Bill Cunningham New York
    It's hard not to wonder if Press might have offered a similarly impactful portrait in a more concise manner.
  30. Lord of the Dance in 3D
    It's simply a blandly shot recording of Michael Flatley's musical revue, as performed overseas.
  31. I Am
    Pay close attention to the title of Tom Shadyac's documentary. He will try to convince you his film is about humanity uniting to solve its problems. But somehow, his own ego keeps getting in the way.
  32. The Music Never Stopped
    Often static and follows a familiar trajectory. Yet it has power, partly because Simmons does a fine job of showing how hurt Henry is that his taste didn't imprint on Gabe beyond grade school; what was their music became, simply, dad's music.
  33. Win Win
    There's a wonderfully steely spine inside of Tom McCarthy'sWin Win," but it's hard to see at first because it's inside the doughy, everyman person of Paul Giamatti.
  34. Paul
    A decent comedy, good-natured if unspecial, amusing if rarely hilarious.
  35. Limitless
    The movie looks great, never lags, and keeps us intrigued throughout. It's not until the high wears off that we realize we've just been had.
  36. The Lincoln Lawyer
    There's a reason potboiler paperbacks don't make good movies - there's too much outlandish plot, even for Hollywood.
  37. I Will Follow
    DuVernay's feature debut is simple and almost proudly plain. But such a stripped-down approach allows its authenticity to shine.
  38. Monogamy
    Despite the ominous feel, this is a mystery about losing or gaining lives and unknown detours.
  39. 3 Backyards
    From the insistently discordant score to each overthought shot, this triad of stories feels self-conscious and deliberately arty rather than heartfelt.
  40. Making the Boys
    Crowley's biting portrait feels painfully dated, but in a way that's the point: Pioneers fight so those who follow can take their battles for granted.
  41. Elektra Luxx
    Gugino is having a ball, but every scene feels like an oh-so-arch one-act.
  42. Jane Eyre
    Much is left undeveloped, from Jane's ghostly anxieties to Rochester's evolving complexity. Wasikowska and Fassbender lack chemistry, and the latter never finds his character's depth.
  43. Red Riding Hood
    The amazingly awful dramatic thriller Red Riding Hood could, with tweaks, be enjoyably bad in a "Plan 9 From Outer Space" kind of way. Instead, it's M. Night Shyamalan-style bad, which means despite all the unintentional snickers, you feel trapped.
  44. Battle: Los Angeles
    This one isn't original, or even bearable. By its thudding end, audiences may wish they could be zapped from the theater to escape the buzzing in their ears.
  45. Mars Needs Moms
    While not every family film can plant a flag here, the happily offbeat Mars Needs Moms turns out to be a charming, subversive, minor addition to the club.
  46. Happythankyoumoreplease
    That other actors - especially Akerman and Tony Hale, wonderful as a tentative couple - fare better suggests Radnor should give directing another shot.
  47. Take Me Home Tonight
    Ultimately, the characters are props in a movie about popped collars and Ray-Bans, rather than the other way around.
  48. Beastly
    There's less to Beastly than meets the eye - and what meets the eye is no great shakes, either.
  49. The Adjustment Bureau
    Unfortunately, the fantasy-thriller they're in eventually falls apart, becoming a much sillier, less substantial movie than its lead actors deserve.
  50. Rango
    The latest collaboration between Verbinski ("Pirates of the Caribbean") and Johnny Depp is sharp-edged, surreal, and often astonishing in its giddy creativity. What it is not, however, is a family film.
  51. Drive Angry 3D
    Pure grindhouse, so committed to its own junkiness that it is, in its way, a pleasure to behold.
  52. The Over the Hill Band
    Calculated Belgian crowd-pleaser.
  53. The Grace Card
    Faith-based audiences may find comfort here, but the film's heavy-handedness is a burden it can't overcome.
  54. Heartbeats
    The emotions veer from bawdy to sweet and then to obvious, though the film is stylish, and Dolan's artfulness helps when the movie loses focus.
  55. Of Gods and Men
    Quiet, soulful and wrenching.
  56. Hall Pass
    Ever catch yourself thinking, "Man, I wish beer commercials lasted just 104 minutes longer"? The Farrelly brothers are ready to make your dreams come true.
  57. Immigration Tango
    A comedy with two left feet, Immigration Tango does have enthusiasm on its side. But it trips up under the awkward efforts of all involved.
  58. Even the Rain (Tambien la Lluvia)
    More serious-minded than expected, with a unique and savvy point of view.
  59. We Are What We Are
    This gruesome, allegorical drama is dark and unsettling, but not so original that it begs to be let in.
  60. The Last Lions
    Riveting, especially since these animals' population has horrifyingly dropped from 450,000 to 20,000 in a half-century.
  61. Vanishing on 7th Street
    It's a slow time at the cineplex, and the sinister scares served up by Brad Anderson are just spooky enough to freak out undemanding horror fans.
  62. I Am Number Four
    I Am Number Four, with its gangly title, seems like a dimwitted cousin to those hipper properties - a Superman-come-lately tale of puppy love, extraordinary powers and puberty that's duller than a chalkboard and less powerful than an extraneous Jonas brother.
  63. Unknown
    Twisty, engaging thriller.
  64. Certifiably Jonathan
    This rambling, unfocused, shuffling documentary paints the famous standup in broad strokes, only occasionally providing worthy examples of how Winters inspired generations.
  65. Vidal Sassoon: The Movie
    This rather elegant movie, like a bold new 'do, is both not what you'd expect and exactly what you feared.
  66. Gnomeo and Juliet
    This is perhaps for Shakespeare completists only.
  67. The Eagle
    This old-fashioned sword-and-sandal drama has all the bread and circuses we've come to know from the movies. It flirts with interesting story choices, but ultimately, all roads lead to boredom.
  68. Cedar Rapids
    Its appeal comes almost entirely from the cast members, who appear genuinely excited to invite us to their party.
  69. Justin Bieber: Never Say Never
    Bieber's world - at least as edited for mass consumption - is a refreshingly wholesome universe, where a young superstar is good-natured and grateful, says grace before every meal, and spends all his free time on the tour bus tweeting. He also likes to hug, a lot.
  70. Just Go with It
    A witless rom-com that is only marginally watchable.
  71. The Roommate
    If ever a thriller were to inspire a collective "eh," it's got to be The Roommate. It's not a good movie, by any means, but it's also not bad enough to have fun hating on.
  72. Waiting for Forever
    Director James Keach's movie is so annoyingly dipsy-doodle that TV veteran Bilson, trying hard to look haunted and angsty, is boxed in.
  73. Troubadours
    So maybe this movie should serve as his introduction to a larger series, in which each artist gets the individual portrait Neville so clearly wants them all to have.
  74. Home
    More mournful than alarmist, Arthus-Bertrand's film goes beyond global warming to look at life out of balance, through a lens darkly.
  75. Into Eternity
    Unfortunately, Madsen (a Danish filmmaker, not the American actor) has an approach to this rich topic that is repetitive and simplistic, as if he wasn't quite sure how to fill out even a brief feature.
  76. Dressed
    Don't let the generic title fool you: David John Swajeski's documentary tells a story you're unlikely to forget.
  77. Cold Weather
    Unfortunately, the movie doesn't have enough going on to keep us engaged, but writer-director Aaron Katz has a confident style and a way with small moments.
  78. The Other Woman
    The one person who does appreciate Emilia is Portman - which is what saves The Other Woman from the easy judgment toward which it so often appears to be edging.
  79. Sanctum
    If you're able to think of characters as just air bubbles to get past, then dive in, the excitement's fine.
  80. Strongman
    To use carnival lingo: Thrilling? Not quite; since Levi's film has no clear goal for Stan to reach. Spectacular? Truth be told, those skeptical of Stan's abilities may still walk out as nonbelievers. Fascinating? Absolutely, because if you take time to listen, everyone's life is a three-ring circus.
  81. When We Leave
    Kekilli sensitively portrays Umay's conflicted despair, and the relationship with her son is beautifully rendered.
  82. Kaboom
    The good-natured cast helps distract from a barely sketched plot and outrageously cheap production values.
  83. Ip Man 2
    With action this strong, the script just needs to be serviceable - and that's exactly what it is.
  84. The Rite
    Terminally silly, even more so for being "inspired by actual events."
  85. The Mechanic
    The only bit of machinery that makes the film move is Jason Statham, who's provided the steely saving grace in so many modern action movies.
  86. Dhobi Ghat (Mumbai Diaries)
    From performances to pacing, nearly every element of Rao's debut is uneven. But her passionate vision of so much useless prejudice leaves a lingering impact.
  87. The Housemaid
    Korean director Im Sang-soo can't improve on Kim Ki-young's 1960 original, a jarring and operatic cult favorite. Still, he does tweak the themes in intriguing fashion.
  88. Gabi on the Roof in July
    Levine offers a mostly sharp takedown of middle-class hipsterdom, and he's terrific as a guy whose easygoing demeanor hides continuing growing pains.
  89. Applause
    Steen, her face full of remorse, does a great job of portraying someone unclear of where to go or what to say without a script.
  90. The Woodmans
    What emerges is a portrait of the "psychic risk," as her father says, of living a creative life - and the intense feeling that entails.
  91. The Way Back
    The man-versus-the-natural world story is in Weir's wheelhouse, and Harris and Farrell get into a scene-stealing duel. Worth the trek.
  92. No Strings Attached
    On the bright side, Ivan Reitman's disappointing new comedy isn't just cheap and formulaic, but so forgettable few people will even remember she (Portman) was in it.
  93. Every Day
    There are too many overwritten moments designed solely to make the movie more interesting -- when, in fact, they undercut the low-key relatability that serves as its strongest asset.
  94. Plastic Planet
    Boote's ambitious goals include finding out how plastics are made and how they're messing with our bodies and our planet.
  95. A Somewhat Gentle Man
    Hans Petter Moland's dry Scandinavian wit is just amusing enough to keep us interested in this dramedy.
  96. Barney's Version
    By the time Barney gets one final, heartbreaking chance to screw things up, this rich, satisfying film has you hooked.
  97. The Green Hornet
    Turns out, Michel Gondry has crafted an irreverently funny, ultramodern take on the 1930s radio serial.
  98. The Dilemma
    This tonal mishmash cripples The Dilemma almost immediately, though there are many other speed bumps, including Vaughn's irritating, fast-talking prattle.
  99. The Time That Remains
    Unfortunately, the stylistic repetition and intensely one-sided viewpoint only undermine his (Suleiman) goal.
  100. If I Want to Whistle, I Whistle
    A steady thrum of anger pervades this Romanian film even in its quietest moments, but the ending and captured-lost-boys setting ultimately fail to surprise.
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