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. Hoffman, Morton and Jon Brion's aching score somehow capture the all-too-human need to get things right. If you're in a certain frame of mind, those moments make up for all the stagecraft.
  2. Utilizing copious film footage of her puckish subject and new interviews with Haring's contemporaries, gallerists and mentors, director Christina Clausen makes her fascinating movie as big-hearted, city-centric and energetic as its subject.
  3. W.
    A measured and thoughtful meditation on a leader who, this terrific movie believes, inadvertently made the world as roiling as his soul.
  4. An atrocious mess.
  5. The story has more holes than a shot-up metal door, the acting feels bored at best, and the intermittent action, while passable, hardly makes up for the downtime.
  6. A Disney movie about a Disney project, this slick sailing documentary feels a little too self-promotional, almost like an attraction you might stumble into at Epcot. But at least it turns out to be a fairly wild ride.
  7. Fortunately, the cast cuts through a cloying script and boosts unsure direction with sharply focused performances.
  8. Just slightly funnier than you'd expect, this dashed-off teen comedy cribs from a thousand other movies, without coming up with anything original of its own.
  9. Frontrunners is a lot rougher than Nanette Burstein's recent, similar documentary, "American Teen," and its comparable lack of gloss is both an asset and a flaw.
  10. It's like torture, though Body of Lies has nothing to spill.
  11. Sports biodramas generally take one of two tacks: gauzily sentimental or scrappy tale of struggle. The Express runs the thin line between the two and, to its benefit, more often than not hits the first mark.
  12. Only in its final scenes do the usual WKW themes emerge in full bloom, but purists shouldn't miss it.
  13. With witty throwaway bits and Cavanagh's fast delivery, "Scot" gets away with a third-act dip into hearts and platitudes. Otherwise, it's refreshingly snarky and quick.
  14. Though the film ultimately falls short of its considerable promise, there's more than enough here to keep thoughtful moviegoers - of any age - intrigued.
  15. Is it possible to enjoy the company of the world's most irritating woman? Mike Leigh's surprisingly sunny dramedy makes a pretty good case that, in fact, it is.
  16. On the plus side, the actors - especially Butler and Wilkinson - work overtime to pump some extra life into the self-conscious script.
  17. What he does do finally in this funny, refreshing movie is assert how unrestrained religiosity could guarantee the "end days" many of his subjects admit to looking forward to.
  18. Problem is, this movie is all surface - to quote one character, it has hidden shallows.
  19. Every generation deserves its ultimate high school romance, and Nick & Norah's Infinite Playlist clearly aims to take the slot currently open. Despite a valiant attempt, though, it doesn't quite make the grade.
  20. Coasting on lazy stereotypes, the script basically ends where it started, teaching young viewers that it's really not so bad to be a spoiled bitchy puppy.
    • 45 Metascore
    • 20 Critic Score
    Piles on the indignities, violence and island-of-man turmoil.
  21. It's not a lightning show, but "Flash" still shines.
  22. A film that is both deceptively modest and deeply resonant.
  23. See, everyone complains about humans in movies but no one does anything about it, so it fell to Eagle Eye to make everything laughably, ridiculously fake.
  24. It's an increasingly rare pleasure to see two naturally aging adults onscreen, and it's not exactly hard work to watch this still-gorgeous pair fall in love.
  25. Of course the experiences and sacrifices of black troops, which were so often overlooked, should be represented and honored. But because Lee underestimates our desire to do so, the movie that follows doesn't do them justice.
  26. Leoni and Kinnear are charming, and Koepp keeps the mood appropriately light. But really, this would be just another disposable comedy if it weren't for our unassuming star.
  27. Sparky voice performances and heart make up for this family film's theft of Tim Burton's sensibility.
  28. The same boring routine gets played out again.
  29. Very little actually happens, since most of the time Mr. Shi sits alone in Yilan's empty apartment, wondering how to help her. But there's a gentle beauty in these long, anguished silences, and Wang and his actors make the most of it.
  30. Though the leads do fine work, their efforts often feel slightly futile. Despite a few flashes of the darker tone percolating under the surface, the movie remains too well-mannered to truly pull us in.
  31. Well-intentioned but as earnest as a college freshman discovering campus politics.
  32. A rousing period drama with all the familiar trimmings: gorgeous costumes, palatial settings and romantic intrigue.
  33. Rarely has there been a movie as misguided as Hounddog, which self-righteously indulges in exploitation while loudly decrying it.
  34. 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."
  35. Is it an exaggeration to call The Women the worst movie of the year? Well, yeah, probably. But it may be the most disappointing, given all the effort that went into it.
  36. Of the supporting performances, Gugino, Leguizamo and Wahlberg offer solid turns, but are let down by dialogue.
  37. Flow makes you thirsty for more information.
  38. Cheshire refuses to look away, no matter how complicated things get. In fact, it's the tangled, tortured roots that most inspire him, turning this deeply personal film into a potent meditation on our nation's past.
  39. Ball knows one trick, and it's sure over.
    • 49 Metascore
    • 60 Critic Score
    Perry's notoriously overstuffed plots have sometimes been top-heavy, but this movie, like Woody Allen's "Hannah and Her Sisters," hangs on an elegant structure that doesn't feel forced.
  40. Adds to the sad realization that this once-vibrant and witty actor (Cage) is completely controlled now by his inner teenager.
  41. Beautifully acted and exquisitely photographed, director Claude Miller's superb drama, from Philippe Grimbert's autobiographical novel, is awash with the ripples created by unlived lives.
  42. As for that title, neither character is Italian, but each thinks the other is - a weak device designed purely to inspire a slew of stereotypes.
  43. Jamie Bell gives a watchable performance in this self-conscious, coming-of-age drama, though the film's overall effect is best described as David Lynch lite.
  44. A decidedly lightweight amusement.
  45. Smith ("American Movie") sees the poetry in everyday people, and lets his rambling story find its own rhythm.
  46. Why would you watch a bad movie about better movies, when you could just rent the originals instead?
  47. The plot makes absolutely no sense.
  48. A film as unique as this is a gift that shouldn't be ignored.
  49. All this story needs is a mariachi band to walk in on all the overwrought mourners. Oh, wait ... yep. There it is.
  50. A lightweight goof that feels a little dashed-off.
  51. David Kaplan's sweet, if superficial, fairy tale won't change the world, but it makes nice use of its setting (Chinatown) and visual style (rotoscope animation).
  52. Nachmanoff fills the movie with a sense of gripping, '70s-style grittiness that helps undercut the web-of-evil tone.
  53. Well, you've got to say this for Death Race: It knows what it is and doesn't apologize for it. What it is, incidentally, is junk.
  54. not a good comedy. But there's no airbrushing out the funny surrounding its star.
  55. It also has another watchable turn from Ice Cube, and, as with his previous films, the rap artist-actor leads by example.
  56. There's a lot of potential here, and a sharper script might have made all the difference.
  57. Filmmakers Tia Lessin and Carl Deal utilize the footage Kim and Scott Roberts had taken throughout the disaster, showing how residents suffered, survived and came together to help when official assistance let them down.
  58. A little miracle, Azazel Jacobs' lovely story of a life lost and found tackles big issues -love, maturity, fulfillment - in deceptively modest fashion.
  59. Wilson works overtime to hold Peter Cattaneo's flimsy comedy together.
  60. The latest indignity.
  61. There are two stormy performances from Javier Bardem and Penelope Cruz that elevate Allen's melancholy thoughts on love and relationships.
  62. Velvety storytelling still feels more thawed-out than heated.
  63. It's easy to see how a film so unafraid of religious touchstones could become a phenomenon among the faithful. Nonbelievers, however, need not apply.
  64. Forgive us for being demanding, but shouldn't an animated kids movie like this one be, at the very least, fun? Cute? Watchable?
  65. Although this ­satire of Hollywood inanity isn't the comic ­classic it could have been, Downey's gonzo performance is a must-see.
  66. Roth's works are particularly hard to do justice to onscreen, perhaps because the celebrated author's personality is really in his words
  67. When "Pineapple" goes from ganja to genre, it sours.
  68. Unfortunately, Miller never finds the right balance, so while there are some sweet notes, the pileup of clichés ultimately leaves a slightly acrid aftertaste.
  69. The reason this franchise has been so successful - both on film and in Ann Brashares' original novels - is that, just like the jeans, it suits the needs of vastly different girls.
  70. Boredom is the very basis of this sequel, at least at the beginning.
  71. A good-ol'-boy civics lesson that's too scattered to achieve its predictable goals.
  72. By the end, Holdridge has captured the bittersweet complexities of romance with a wisdom that proves surprisingly seductive.
  73. Often insightful and more than a little depressing, this is a story that only gets uglier as it goes on.
  74. Has moments of honesty, but more often the barren landscape - both outside and inside - drains the emotions out of the film.
  75. The truth is, the mystery pales next to the best "X-Files" plots. But fans will appreciate sly references to past episodes, an unexpected appearance from an old friend and the still-poignant bond our heroes share.
  76. So that's three snickers, not counting the Bush quote, 'cause including that one ain't fair, man.
  77. The kids here do come across as genuine people, struggling with issues everyone can understand.
  78. Anybody who missed 2006's excellent indie "The Puffy Chair" has another chance to discover the off-kilter world of the Duplass brothers.
  79. May feel especially like a statue covered in drapery. Unfortunately, the movie's attempts to steam things up feel about as exciting as an after-dinner mint.
  80. Some of the talk gets a little bombastic, but it's hard to deny the thrill involved.
  81. "I hate this stinkin' war," Neil Young announces in this chronicle of CSNY's "Freedom of Speech Tour," and the rest of the movie is just as unapologetically blunt.
  82. History has made his midair stroll meaningful, but the film shows how even then, everyone - from Petit to his accomplices to the cops who were waiting for him atop the North Tower - recognized the stunt's crazy poetry.
  83. If Hitchcock had done a coming-of-age drama, it might have resembled this haunting, nervous, sad movie about an early twentysomething.
  84. Twisted, tortured, terrifying - and terrific.
  85. On the scale of modern musical adaptations, it's not a disaster of "The Producers" proportions. But it is missing the razzle-dazzle of a success like "Chicago."
  86. And then there is the most annoying animated sidekick in a long time: a bulb-headed, trying-to-be-cute glow creature called Kilowatt (Kristen Chenoweth), who sings an ear-piercing, high-pitched note when it's scared, which is often.
  87. Charismatic and complicated, Noonan tries to run the movie the way he runs his town. But while the director sometimes appears to be glorifying Noonan's choices, reminders of uncomfortable reality intrude regularly.
  88. Built on an amusing idea that can't quite support an entire movie, Wayne Price's comedic debut might have made a terrific short.
  89. There are times when a Kilmer performance is like watching a clock move: well-timed and oddly compelling, even though it's totally predictable. That's the case with Felon, which doesn't belong to Kilmer but which he steals anyhow.
  90. Intermittent shots of actress Emmanuelle Seigner embodying the lyrics are surplus.
  91. Another preachy, overacted message film that owes its out-of-time structure to "21 Grams" and "Babel," except writer-director Charles Oliver uses the idea of restorative justice.
  92. Since Alfred Hitchcock set the standard for strangers-on-a-train thrillers, Anderson has a lot to live up to. He falls short of creating a new classic, but he does manage to keep us on edge for most of the movie.
  93. The endlessly inventive del Toro creates visual fantasies unlike any other, and the creatures on display here are truly extraordinary. But amid all the costumes, all the action, and all the special effects, it's the humanity that makes his work so memorable. Yes, the monsters are amazing. But the moment when a heartsick Hellboy discovers Barry Manilow? Priceless.
  94. The cast hits the right notes. Fraser, switching between affable good sport and heroic goofball, clearly doesn't mind this stuff. He realized early on with "George of the Jungle," "Dudley Do-Right" and the "Mummy" movies that his B-movie build and persona is perfect for live-action cartoons.
  95. The "Star Trek" gibes feel especially lazy, since the movie ought to be "Men in Black" kicky, not sketch-comedy dusty.
  96. Writer-director Kari Skogland adapts a beloved Canadian novel gracefully and with plenty of spunk, the same way its main character moves through the world from cradle to grave.
  97. It was a true media circus, and despite Polanski's work before and since, the film shows how it will forever be his first association in the public consciousness. In the U.S., at least.
  98. There's not much to it, but Austin Chick's hyper-focused indie does serve as a nicely assured showcase for lead Josh Hartnett.

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