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. Doesn't probe quite as deeply as it should.
  2. This is compelling stuff, but Jones seems almost pathologically averse to upstaging the songs themselves.
  3. Strangely unengaging.
  4. The production is as gaily colored as the margaritas, but the overall result is wan.
    • New York Daily News
  5. Reilly can play nuts, too, and in a lower gear that reins Ferrell in. They're a great team.
  6. It may be that Gronkjaer couldn't get the nun to open up to her. But not knowing much about her creates an awkward imbalance that Vig, fascinating as he is, can't overcome.
  7. With We Don't Live Here Anymore, it's the audience that may want to leave and start a new life.
  8. The kids here do come across as genuine people, struggling with issues everyone can understand.
  9. There's a certain morbid fascination, and perverse humor, in watching grown men enthusiastically turn themselves into human cartoons. (For better or worse, these guys are their generation's Stooges.)
  10. For Kidman, it is a one-note performance dictated by the script. Leigh had more dimension to work with and gives the film's most honest performance. Meanwhile, Black, whose job is mostly to deliver comic relief, is completely lost - that is to say, not funny - in the material.
  11. Builds to a splattering finale that should leave genre fans highly satisfied.
  12. This sympathetic documentary chronicles her decision to come out, which required a battle plan as extensive as the ones applied to the rest of her career.
  13. The film's overriding messages are of personal responsibility and redemption. If that is Villeneuve's objective, it's done as an insidious polemic. If not, it's guilty of an even greater sin: It's boring.
  14. Though a bit long and occasionally ­awkward, this drama ultimately does ­justice to its inspiration - the true-life tale of boxer-turned-transsexual Nong Toom.
  15. Kick-Ass - based on a graphic novel - thinks it's so brave and bold. But it's more like the title character, a dweeb who just thinks he's tough.
  16. In an era of anti-immigrant fervor, this sobering and much-needed look at Latino migration is built on an undeniably optimistic premise: that once Americans have accurate facts, "they rarely allow injustices to stand."
  17. Soldier's Daughter is at its best when alluding to the quasi- romantic attachments and undefined crushes that develop in small groups and keep the engines whirring. The inchoate longings go round and round, as subtly as befits the movie's rather smallish canvas. [18 Sep 1998, Pg.57]
    • New York Daily News
  18. Likable Lohan doesn't exude the vulnerability that would give the movie true heart, and Fey, head writer for "Saturday Night Live," crafts better punch lines than plots.
  19. This drama offers a chuckle at every turn.
  20. Cho is funnier — and raunchier — in this, her second concert film, than in 2000's "I'm the One That I Want," even if she doesn't break any new comedic ground.
    • New York Daily News
  21. The script gets so silly, the Monty Python troupe would reject it.
  22. An audacious, snappy visual and emotional feast of dishes both familiar and fresh. It's the first really good movie of 2001.
  23. 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
  24. Miami Vice is the last of the predicted summer blockbusters, and it delivers a reasonable amount of popcorn excitement. But if nostalgia for the TV show is the source of your interest, expect some disappointment.
  25. Bittersweet, funny, sad and invariably romantic.
  26. The song for which Piaf is best-known - "Non, Je Ne Regrette Rien" ("No Regrets") - leads to a killer finale with Cotillard perfectly lip-synching Piaf's recording of it. Trust me; you'll want to own it.
  27. The cast, including Orlando Bloom and Evangeline Lilly as warrior elves, is also excellent (though we don’t get even a glimpse of Andy Serkis’ Gollum). And individually, each escapade does hold its own thrills.
  28. Overly familiar but endearing nonetheless, this coming-of-age indie from Alexis Dos Santos is most likely to appeal to those who recognize themselves in the story's lost heroes.
  29. A good-natured and highly enjoyable goof.
  30. This lovely, low-key debut from Aurora Guerrero doesn't aim to make any grand statements. It doesn't need to. The sweetness and sincerity Guerrero and her leads infuse into their intimate coming-of-age story is more than enough.
  31. As complex as its subject's life and - like her - both flawed and fascinating.
  32. Director Marc Webb's action-adventure is grounded in a recognizable reality, but is also full of thrills. It's dark and mysterious, but doesn't skimp on fun.
  33. The actors click into high gear, and Premium Rush delivers.
  34. Clearly intended as a reminder that one person can move - or, at least, save - mountains.
  35. 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?
  36. Splice is an unholy mess because it fuses together the worst parts of every bad medical-monster thriller, and then boldly cranks up the ridiculous.
  37. A delightful and endearing romantic comedy with the shape and resonance of a Jane Austen novel.
  38. Best of all, and worth the price of admission, is Cedric the Entertainer.
  39. It's a wonderfully silly family movie that holds its audience in high regard.
  40. While not nearly as elaborate as either film, Heist plays like a combination of "The Sting" and "Mission: Impossible."
  41. Elf
    A non-sappy and genuinely adorable confection. It wiped away the Scrooge in me for 90 enchanting minutes.
  42. 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.
  43. If ever a movie could convince the masses to don communal shoes, this is the one.
  44. Even while trying to access my inner giggly, dreamy adolescent, I found the movie as irritating as a chigger under the skin. The cast is pretty and inoffensive, with America Ferrera, using charisma and fierce emotions to stand out from the pack.
  45. To sing the praises of the movie but not give away the revelations is difficult. Let’s just say this: The less you know about what happens in this funny, tasty twisteroo, the better.
  46. The movie is pretty good.
  47. Director David Yates, who helmed the last four "Harry Potter" films, is in his element with this mix of wand-waving and rollicking adventure. He keeps the overstuffed story zipping along for the most part. And he's thrown in all the eye-popping wonders that $180 million can buy.
  48. Our time spent with Nenette feel as stifling and airless as hers.
  49. With the film's hypnotic emphasis on artistry and architecture, most viewers will probably get their satisfaction from the striking visual elements, particularly the stop-motion animation.
  50. Best of all is newcomer Connell, the kind of charismatic kid who would have been cast in "Freaks and Geeks" ten years ago.
  51. Straightforward and immensely powerful, the movie offers a blunt assessment of the war from soldiers currently fighting it, and their perspective is not pretty.
    • 66 Metascore
    • 100 Critic Score
    Zowie! What a picture! Humor, drama, romance, action, thrill! And how!
  52. The supporting cast, including Ving Rhames, Laurence Fishburne and gorgeous Maggie Q, is underused, but the movie delivers the goods.
  53. Actors Trevor Wright and Brad Rowe are good enough to turn a formulaic coming-out tale into a sweet romance.
  54. Given that fundamentalist faith and sober logic are irreconcilable enemies, though, Baer's analysis inevitably leads to a grim roadblock, at which he can do little more than tally the toll.
  55. Enjoy Christmas in Paris, if you don't have enough problems of your own, with this slice of family life from French director Daniele Thompson.
  56. The stories are sharply written and well composed. Some are high tech on a low-tech budget, but where they find their strength -- in the emotions of their characters -- money is no object.
  57. What’s most surprising is that this talky dramedy was a massive smash at home in France, outearning blockbusters like “The Avengers.”
  58. Right now, he's the perfect "Avengers" antidote.
  59. The movie rises thanks to an ace in the hole: Bryan Cranston, whose stirring star turn hooks us completely.
  60. How you respond to Pitch Perfect will depend primarily on how you feel about its obvious inspirations: "Glee," "Bring It On" and the food-poisoning scene from "Bridesmaids."
  61. Panayotopoulou does handle the material with sensitivity, but she relies too much on her young hero's unlikely precocity, which unwittingly diminishes the intensity of a child's very real grief.
  62. The persistent whimsy gets a bit wearisome, but it's hard to dismiss any film so determined to make us happy.
  63. Felix and Meira is tender and sad, and wonderfully shot in snowy Quebec, but ultimately fails to connect. It’s such a gentle whisper of a film, it’s hard to hear what it wants to say.
  64. The efforts of Beavan's clan are so extreme that they spark some interest, but their environmental commitment feels a bit too self-serving to have the impact that's clearly desired.
  65. First-time feature director Omid Nooshin deftly downplays his budgetary limitations. He creates a sense of tension on the confining set and draws as much as possible out of a strong cast, led by Scott.
  66. Combining the dysfunctional family reunion and the home invasion thriller, You’re Next tries, somewhat valiantly, to add new twists to the usual bloody horror-flick shenanigans. But aside from a few fresh chords, it’s same-old, same-old.
  67. Kekilli sensitively portrays Umay's conflicted despair, and the relationship with her son is beautifully rendered.
  68. If you're not in that demographic, don't dismiss it. You'll miss out on a genuinely sweet, perfectly acted, remarkably brave little movie that should make audiences swoon for something they thought was gone - a smart dramedy for grown-ups.
  69. The Manhattan movie of the year, Francis Lawrence's I Am Legend, offers a stunning glimpse into how the city - as we know it today - might look in 2012 if it were abandoned in 2009.
  70. 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.
  71. A thoroughly entertaining animated comedy that's sweet enough for the youngest moviegoers, and smart enough for the most cynical chaperone.
  72. Some consider Leigh Bowery a visionary performance artist. Others will see a selfindulgent narcissist. You may want to decide for yourself.
  73. The lone gem of the anthology takes place in the loft of a trendy L.A. restaurant where a snooty Steve Coogan learns from starstruck Alfred Molina that the actors are cousins...This is the longest of the shorts, and has a payoff ending that nearly makes the whole thing worthwhile.
  74. Besides the personal stories, de Sève deftly puts the issue in historical and political perspective through an overview of the evolution of marriage, plus a slew of talking heads representing both sides of the battle.
  75. Garcia's somber narration is a turnoff, but this plucky little diatribe gets you thinking about the larger implications facing future generations.
  76. A meandering, amusing trifle, Werner Herzog's latest film is as cheekily flaky as his recent "Grizzly Man" was sharply down-to-earth.
  77. It stands alone as the best "Star Wars" entry since 1980's "The Empire Strikes Back." Yes, it's that good.
  78. 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.
  79. Just when it seems he's left himself with no way out, he comes up with a finish guaranteed to leave you breathless.
  80. It's a sly little fable with at least six very obvious homages to Alfred Hitchcock thrillers, and a dark little heart that happily hides under a double-breasted suit.
  81. Bednarczyk's natural instincts put most programmed Hollywood moppets to shame, and the quietly affecting O'Keefe shows genuine talent.
  82. Given that his subjects are so inspiring, surely Levy could have spiced up his storytelling with a bit more creativity.
  83. Despite their efforts to address most sides of this complex story, each new interview leaves us wanting to know even more. Of course, that's the sign of a compelling film - but in this case, not an altogether satisfying one.
  84. Just like the movies it parodies, this one feels over long before it's actually done.
  85. George Bush supporters may think this dissection of the President's narrow and decisive 2004 election victory in Ohio is better than sex. But Democrats and Bush voters who have come to rue the day are more likely to compare it to losing the World Series on a seventh-game walkoff home run.
  86. Philip Roth turns 80 next week, and what better way to celebrate than to serve as the hero of his own story? It’s too bad, though, that this dully conventional biography doesn’t do justice to its subject.
  87. This documentary is basically a glamorized DVD extra, but it entertains as it details the anecdote-rich production history of “Night of the Living Dead” and, most crucially, its enormous impact.
  88. By the end, you may not know whether you've seen a ghost story or a story of delusional obsession, but you'll have had a great time.
  89. The homoerotic relationship between Friedrich and Albrecht is stopped short by tragedy, but the point is made - to Friedrich and the audience - that fascism has no room for humanity.
  90. 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.
  91. A singularly full-hearted and moving film.
  92. It's a fanciful tale, but the message is sweet - that the higher arts speak a universal language that transcends politics and ignorance.
  93. Director Oliver Schmitz's rhythms take a while to ease into, and admittedly, there is never a bright moment.
  94. If the movie doesn't ultimately transport us to places The Wizard of Oz once took us, that may be partly because "The Sorcerer's Stone" is just the first chapter, with more magic waiting to be parceled out in the coming years.
  95. The opera's story -- about a Chinese princess who rejects all her suitors -- is never even fully explained.
  96. A no-frills, homespun documentary that gives so much more than its humble technical credits would suggest.
  97. What it offers are dozens of intimate moments that feel so true, they achieve a rare kind of grace. This sensitive indie drama was written and directed by brothers - and first-time feature filmmakers.
  98. It's the subject himself, still brimming with passion in his 80s, who provides the most inspiring moments.
  99. Despite four very strong performances, Closer is hard emotional work to sit through. It's impossible to empathize with either the viciously insecure Larry or the unscrupulous, childlike Dan.

Top Trailers