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 riveting story.
  2. Just when you think it's a violent drama, it turns into a comic road picture, before finally becoming a tender romance.
  3. A Jane Austen-like tale of sense and sensibility, with some of the wit, but, alas, none of the linguistic legerdemain.
  4. Cinephiles and Billy Wilder fans get a rare opportunity to see the "slightly dirtier" European ending to the director's 1964 sex farce.
  5. In making such an appealing movie about characters who are usually swept under the Hollywood rug, Binder does us all a service.
  6. As tawdry as this may seem, Bertolucci is not trying to one-up himself. He was 27 when the student riots occurred and very much a participant in a revolution that was both complex in its implications and naive in much of the behavior. He has caught that perfectly
  7. That final night of competition is exciting stuff, capped by a heroic victory ride, but this is otherwise a plodding feature about decent young people in a rough-and-tumble sport that makes you wonder how many IQ points they have being bucked around inside their heads.
  8. It's certainly been a while since we've seen a movie this resolutely old-fashioned. But while the script feels a little stiff and moralistic at times, it's hard to fault a film with such an intelligent, good-hearted heroine.
  9. Goldthwait explores his themes more thoughtfully than you'd expect, but ultimately, we know just how things will end. And what's subversive about that?
  10. No matter how silly the situation, each member of the uniformly strong cast creates a nice balance between sentimental and sweet - which is just how every holiday gathering should feel.
  11. The unavoidable obstacle is that the perpetually elegant Knightley does not belong. Not at a prom, not furtively partying in a parent’s basement and not, alas, in this movie.
  12. Free Fire is more of an exercise in how to stretch-out a single scene than a typical movie.
  13. Maybe Keanu would have been stronger in the hands of a more experienced director — they brought Peter Atencio over from their show — but Key and Peele know how to deliver the laughs and killer chemistry.
  14. Plays out like a clunky, not-so-incredible "Incredibles," or a more-despicable "Despicable Me."
  15. Hopped up like a Bugs Bunny cartoon on mescaline and as chatty and uppity as a 5-year-old, Burn After Reading could be seen as the Coen brothers' need to let loose after the tightly wound "No Country for Old Men."
  16. So yes, you'll roll your eyes when the coach defies Papale's naysayers by insisting that "he has heart." But if there's a single surprise on this familiar field, it's that the movie does, too.
  17. Crushingly realistic.
  18. Directors Adi Barash and Ruth Shatz do a brilliant job of letting the South African, Israeli, Cuban and Namibian men aboard speak for themselves.
  19. Energetic, provocative.
  20. For all the trickiness and bluster, Shutter Island is dead inside.
  21. Cooper, Torre and Dane DeHaan, as a soldier smitten with a local girl, stand out among a strong cast. With its big ideas on an intimate scale, this is Sayles' best in a decade.
  22. ATL
    Fresh and unexpected. It feels like a real window on the lives of disenfranchised youths - these are in South Atlanta - as they make their way in a society that doesn't cut them any breaks.
  23. While Cera is charming enough to keep us watching, he's never allowed to cut loose -- even though that's supposed to be the whole point of the movie.
  24. The movie is bookended by a powerful indictment of apartheid and a study of white guilt.
  25. The end result is like Quentin Tarantino reworking a Charles Bukowski story.
  26. You'll need a strong stomach, but director Christopher Smith mixes lots of laughs into the gore. Despite its predictable finish, Severance is bloody good fun.
  27. Burns has assembled such a fine cast that we leave feeling satisfied, as if we didn't get the iPad mini we wanted, but a pretty good novel instead.
  28. A bad Altman impression of the L.A. rock scene.
  29. 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.
  30. 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.
  31. A world designed for children, and most of the grownups involved don't quite understand it - on or offscreen.
  32. The old footage is definitely compelling, but once Moss trains his focus on the quotidian present, the movie takes on too much water to stay afloat.
  33. Even with all the CGI effects, this darkly emotional movie feels like the anti-"Speed Racer." Sure, it's a big-budget spectacle. But it's also the kind of grandly old-fashioned entertainment we don't get enough of anymore.
  34. It sharply fuses the humor and heart of the earlier films with a satisfyingly heavy-metal strength — and a darkness that’s more than earned.
  35. It's a bit of a hodgepodge - unnecessarily complicated, clumsily structured, uncertainly directed and, as a whodunit, ultimately unsatisfying.
  36. Just when you thought it was safe to stand up to a bear in the woods, this jarring indie horror drama will make you scurry back indoors.
  37. A raunchy, irreverent, generally hilarious sendup of ritual and papal decree.
  38. A little more variation in the script, though, might have yielded something truly great.
  39. 42
    Boseman is watchful, winning and confident, but never saintly. Yet he keeps Robinson’s moral spine aligned with his skill and self-respect, showing how he needed all of those to succeed.
  40. What Disturbia lacks in complexity, it makes up for in witty jokes, sneaky jolts and a timeless lesson: If you've got windows, someone's always watching.
  41. Fans can be forgiven for offering this predictable indie some excess generosity, simply because writer-director Marshall Lewy had the good sense to build a movie around such a versatile lead.
  42. It stands apart when it comes to its extravagant humor and non-judgmental '70s-era reality (smoking dope, hitching rides, playing Frisbee, hanging out).
  43. An evocative melancholy hangs over Princesa, Henrique Goldman's intermittently affecting tale.
    • New York Daily News
  44. Built on the most basic (though quite charming) animation, songs and plots, the film does have an inescapably straight-to-video feel.
  45. There's something sweet yet chilling in When the Sea Rises. If it had explored more of the chill, it might have turned into a knockout, absurdist thriller.
  46. Based on the last book in Phyllis Reynolds Naylor's award-winning trilogy, this third installment in the family-friendly "Shiloh" series is perfect for anyone who wishes "The Waltons" was still around.
  47. Despite a few fiery breaths, there’s mostly hot air from a lot of serious actors slumming it.
  48. What most interests the directors is the way young minds are shaped by adults with clear moral and political agendas.
    • 62 Metascore
    • 40 Critic Score
    Plays like a folksy version of “The Descendants,” and the unusually grizzled Dunne excels. Sadly, the movie is marred by tepid, often crass comedy.
  49. It's described as a black comedy, but you can forget the comedy part. There wasn't so much as a snicker at the screening I attended, though I may have heard a snore or two.
  50. Refusing to be rushed, Doris Dörrie blends individual experiences with universal emotions to create a quietly moving study of self-discovery.
  51. The parts are greater than the whole, but there’s a lot to like here, including the easy interplay between the leads.
  52. What's most notable about this aggressively cynical project is how much talent it wastes.
  53. Niccol doesn't always get the mix right, and the tone here is inconsistent. But the movie remains compelling, largely because of Cage's dry, deadpan delivery.
  54. This terrific film certainly contains the spark of discovery.
  55. Both the humor and horror are as broad as the side of the Oldfields' barn, but King and the cast are clearly having fun.
  56. Cenac is witty and Heggins has a wary stillness, but the movie itself seems too shy to let them really engage each other.
  57. Knightley does fine work, but she’s been miscast. Her innate sophistication undermines the movie’s intentions right off the bat. We never believe her as Greta.
  58. These are three characters in search of a moral pulse.
  59. Danes' smart, fun, radiant and very attractive Mirabelle actually undermines the premise of the book
  60. The movie belongs to Luke, who brings the heroic Chamusso to life as richly as Forest Whitaker does the evil Ugandan dictator Idi Amin in "The Last King of Scotland."
  61. Has that same air of silly innocence, a rarity in today's movies.
  62. The spirit of the series remains true: cheerfully random jokes, blink-and-you’ll-miss-them references and, above all, a silly, stubbornly sentimental streak that only the crabbiest cynic could dismiss.
  63. Every trip requires patience, and this one brings plenty of rewards, in the ecstatic sounds of a country most of us haven't been able to visit firsthand.
  64. None of the criminal skulduggery feels quite right, but the comic bits between Bobby (Favreau) and Ricky (Vaughn) are freewheeling fun.
  65. Less a complete story than a work-in-progress.
  66. 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.
  67. Digital video is both the blessing and the curse of writer-director A. Dean Bell's well-conceived but underachieved What Alice Found.
  68. Passingly enjoyable summer fluff, but if you can find a more genial, less edgy caper movie, you might want to own it as a pet.
  69. Despite the hard lessons learned, King seems to have a pretty deep appreciation for Lyle and Nina’s drug of choice — and you’ll probably enjoy the movie a little more if you feel the same. Just think twice if you’re planning to sneak some homemade brownies into the theater when you see it.
  70. A rousing period drama with all the familiar trimmings: gorgeous costumes, palatial settings and romantic intrigue.
  71. The result is a highly amusing folly, rendered with a surprisingly gentle affection.
  72. Burton structures the film, right up to the fascinating finale, as both a damning tale of male privilege and a moving story of a woman’s liberation. The actors reflect these themes accordingly. Adams is touchingly restrained and Waltz is monstrously charismatic.
  73. But there were few, if any, better performances in 2000 than the one Blanchett gives here, and Raimi's crafty blend of dramatic realism and supernatural knowledge is one of the year's best directing con jobs.
    • 62 Metascore
    • 40 Critic Score
    That’s the problem with Law’s submarine skipper, Robinson, in the action thriller Black Sea. He’s driven and dynamic enough, but he can’t keep the sensitivity from his eyes.
  74. Curious George has long been a bedtime staple, but this animated film version may be the first time his story puts parents to sleep.
  75. The new Kong: Skull Island really gets it right — the exotic adventure, the spectacular special effects, the towering terrors. It’s a big hunk of nostalgic fun, reminding us of the 1933 original even as it monkeys around with the classic story.
  76. City Hall can't decide whether to be melodrama or sociology. In the end, it isn't enough of either. [16 Feb 1996, p.49]
    • New York Daily News
  77. A safety-first, tried-and-true inspirational story that stays the course right down to its "It's a Wonderful Life" ending.
  78. Will Rugrats fans love it -- Wee, we -- er, oui, oui.
  79. Unflinching in its depiction of racism, anti-Semitism, violence and jailhouse politics.
  80. The best way to look at this installment, however, is as musical theater of the absurd. The song-and-dance set pieces are brilliant, including a rap-style "It's a Hard Knock Life" in a prison.
  81. Though the director takes a thoughtful approach to the material, mixing humor and poignancy, he undercuts our sympathy considerably by dragging things out to an inexplicably indulgent degree.
  82. It’s so much fun you may want to put a few bucks aside for a sequel.
  83. Theirs is an affair not worth remembering.
  84. Every aspiring performer will appreciate Gregori Viens' unassuming comedy, which cheerfully skewers industry pretensions and media-fueled trends.
  85. The participants make a strong case, although the most emotionally powerful moments involve the workers themselves.
  86. If it were just Hurt's show, it'd be a helluva trip.
  87. Unfortunately, Wendeers frustrated wake-up call quickly buckles under the heavy burden of its earnest message.
  88. Just as surely as the shortest distance between two points is a straight line, this domestic comedy follows a direct path through every crisis, every resolution and every sentimental heartbeat laid out in the script.
  89. This is an entertaining Western with some earnest ideas about forgiveness, redemption and the loss of innocents.
  90. The movie is filled with fun '50s Americana.
  91. The movie's no knockout, but at least it gives us one good performance, and one great one.
  92. Its sprawling canvas is mere backdrop for the most intimate of character studies -- a portrait of a man who chose material wealth and found emotional ruin.
  93. While this paranoid thriller is overly familiar, it's still plenty unsettling.
  94. Beautiful, witty and provocative, this is one genre film that ought to appeal to fans and non-fans alike.
  95. Written, acted and directed so intelligently that it stands out from the pack, and is guaranteed to give you the warm glow of holiday movies past -- the kind that celebrated faith in human potential and the value of hard work.
  96. Fascinating and often very funny behind-the-scenes look at the tedium and hard work that go into making strangers laugh.
  97. A series of unfortunate events occurred during the making of Lemony Snicket's A Series of Unfortunate Events and they all had to do with Jim Carrey.
  98. As good as Nolte is, the relatively unknown Morgan matches him scene for scene. And he's not the only impressive newcomer. Remarkably, this confident indie is the first feature from writer-director Ponsoldt, who shuns any slickness to embrace the rough edges of his low-budget, bare-bones story.

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