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. The Last Gladiators
    He tells his story honestly, but with no great sense of self-awareness or insight.
  2. The Wolverine
    Good thing the Aussie star has the role down to a science, since the rest of The Wolverine is a howler.
  3. Sicario: Day of the Soldado
    Director Stefano Sollima, who cut his teeth on Italian TV mob dramas, is good at building suspense. He fills the screen with striking images, too -- night-vision raids, heat-signature tracking, eye-in-the-sky surveillance.
  4. The Karate Kid
    It has heart and a good kick.
  5. An Amazing Couple
    Given the grim events, the buoyantly goofy An Amazing Couple has the effect of laughing gas pumped through the vents in a funeral hall.
  6. Emmanuel's Gift
    Yeboah is so levelheaded about his own accomplishments that the swelling score and emotional narration from Oprah Winfrey feel embarrassingly sentimental.
  7. Morlang
    The movie ever so slowly builds to a startling finale, one that puts new meaning into passive-aggressive relationships.
  8. Kingsman: The Secret Service
    Half amusing and half appalling, Matthew Vaughn’s shameless spy caper Kingsman: The Secret Service is ultimately done in by its own hypocrisy.
  9. Otelo Burning
    This crisp, involving South African drama comes at you in waves, changing course and tone expertly.
  10. Funny People
    Gets old fast.
  11. Videocracy
    Italian prime minister Silvio Berlusconi is an ideal documentary subject, but Erik Gandini's jumbled take on Berlusconi's corrupting influence quickly shifts from good idea to wasted opportunity.
  12. The Good Son: The Life of Ray "Boom Boom" Mancini
    The film winds up as a chronicle of uneasy forgiveness.
  13. The Man Who Invented Christmas
    In the end, The Man Who Invented Christmas is an enjoyable enough diversion. It’s no humbug. Just pleasantly ho-hum.
  14. Pandaemonium
    Treats the poets not as creative equals but as a groundbreaking genius and a jealous, vindictive hack. Wordsworth is Salieri to Coleridge's Mozart.
  15. Ultimate X: The Movie
    In a feat of truly impressive cinematic finesse, Hendricks manages to capture every possible angle, from below a soaring motorcycle to atop a speeding luger's helmet.
    • New York Daily News
  16. The Emperor's New Clothes
    In a hilarious bit of actorly sleight-of-hand, Holm (who is not new to the role of Napoleon, having it played it twice before) slips effortlessly from emperor to impostor.
    • New York Daily News
  17. The Girl Who Kicked the Hornet's Nest
    The Swedish edition, which ends with this bleak finale, is downright grim.
  18. The X Files
    Truth is, it' not very good.
    • New York Daily News
  19. Resurrect Dead: The Mystery of the Toynbee Tiles
    Without a satisfying resolution, the movie ultimately sheds very little light on its own subject.
  20. I Want Someone to Eat Cheese With
    Garlin, like Oscar winner Ernest Borgnine in "Marty," is good company, even when his out-of-control eating and self-loathing threaten to overwhelm him.
  21. SPECTRE
    Craig is cruelly efficient. Dave Bautista makes a good, Oddjob-like assassin. And while Lea Seydoux doesn’t leave a huge impression as this film’s “Bond girl,” perhaps it’s because we’ve already met — far too briefly — the hypnotic Monica Bellucci, as the first real “Bond woman” since Diana Rigg.
  22. Femme Fatale
    Sexy, witty, energetic and gorgeous, but it is as stripped of the human element (in some of its production design, as well) as a minimalist Calvin Klein store.
  23. Asphalt Zahov
    More than the sum of its parts.
  24. Luminous Motion
    An ambitious film that sticks with you long after you have left the theater -- because of both what it achieves and what it does not.
  25. Uncovered: The Whole Truth About the Iraq War
    Greenwald has created a crisp historical document that is worth your time, even if the information in it was not worth the President's.
  26. Ghostbusters
    The all-new, mostly female Ghostbusters reboot is in theaters, full of terrific special effects, icky green slime, a horribly haunted Manhattan and, yes, the Stay Puft Marshmallow Man. But the big laughs you’d expect from a "Bridesmaids" reunion of director Paul Feig and stars Kristen Wiig and Melissa McCarthy never materialize.
  27. Them
    If you want an hour or so of terror, put your faith in Them.
  28. Quill: The Life of a Guide Dog
    Yoichi Sai's movie may be a bit tough for young viewers, but it is gentle and illuminating.
  29. Our Idiot Brother
    Despite a pleasantly laid-back demeanor, you wish it would just get focused.
  30. 9
    Shane Acker's underwritten but beautifully animated debut is both an ode to technology and a warning against it. Perhaps unintentionally, the film itself echoes those themes.
  31. Where Do We Go Now?
    While the schemes occasionally seem strained, their desperate determination is never less than compelling.
  32. The Guys
    There's an inherent distance between movies and their audiences that -- combined with the distance between 9/11 and today's opening of the film -- The Guys can't bridge.
  33. The Crime of Padre Amaro
    Father Amaro comes off as another pedophile in a frock. You'd have to hose this guy down if he were driving a school bus.
  34. Eat This New York
    An excellent idea that never quite pans out.
  35. Overnight
    It turned out that he (Duffy) had an ego like a giant ChiaPet. With a little money sprinkled over it, it grew out of control.
  36. The Cake Eaters
    This is not, frankly, a movie you'll remember long after you see it. But it has just enough moments of genuine intimacy to indicate that Masterson ought to give directing another try.
  37. The Delta
    The movie then becomes John's story, making an unbelievable leap of psychodrama to do so.
    • New York Daily News
  38. Good Ol' Freda
    Truth is, only hard-core fans of the Fab Four — granted, that’s a lot of people — will find themselves enthralled by this memo-by-memo account of the woman who spent 10 years handling the Liverpool lads’ mail. Others may be only mildly interested.
  39. Jeff Who Lives at Home
    The whole movie is about piecing together broken parts. It may not always come together, but what it makes, if you look at it the right way, is endearing.
  40. Breathe In
    For all the obviousness on the surface, and despite some forced last-act havoc, Breathe In works like a piece of chamber music. It goes up to the edge of emotion, circles it, then backs away. But the notes not hit seem as powerful as the ones that are.
  41. Memoirs of My Nervous Illness
    Mays throws himself into the role of a man who attempts to transform into a woman, but his efforts feel like futile flailings: The actor - and his character - are so much bigger than any story we're allowed to see.
  42. Daybreak
    If you're going to put us through hell, you'd better make it worth our while. Though Daybreak boasts a couple of minor insights and a compelling performance from Pernilla August, only the masochistically inclined will consider them sufficient reward.
  43. American Casino
    The movie's lack of Michael Moore-style dynamism has a dulling effect. What saves it is the human face it puts on the crisis, and its indictment of corporate greed.
  44. Massoud, the Afghan
    A weak documentary. There's very little here to demonstrate the personality and leadership qualities that made Massoud both a legend and a martyr. Raw, sloppily edited, unfocused and without any sense of scale, it's personal journalism with its heart in the right place, and that's about it.
  45. Signs & Wonders
    The best performance is by Rampling. (The) camera hangs on her, knowing that nothing escapes those wise, sad-lidded eyes.
  46. Everybody's Famous!
    A delightful comedic twist on Martin Scorsese's "King of Comedy."
  47. The Importance of Being Earnest
    Written to skewer the upper class of its time, the script is now just a broad joke-fest, clever lines batted back and forth like badminton shuttlecocks.
    • New York Daily News
  48. The Clearing
    Redford has rarely done this kind of intimate drama, effectively a two-character play on the mountain, and he's very convincing. As is Dafoe.
  49. Reconstruction
    This languorous art movie is somewhat like "Memento," with its narrative fragments and memory mixups. It never explains itself, which means that the audience, like the protagonists, must take a leap of faith.
  50. Oranges and Sunshine
    The movie lumbers, and Loach and screenwriter Rona Munro's affectless approach winds up tamping down the movie's good intentions.
  51. The Last Five Years
    In a small theater, it’s easy to feel like you’re a part of the romance unfolding before you. But in the grander scheme of an impersonal cineplex, it’s an uphill climb.
  52. Any Day Now
    Director Travis Fine gives his period details flourish and lets Cumming and Dillahunt create well-rounded characters, but Any Day Now winds up treacly.
  53. Allied
    If you enjoy slightly awkward romance during wartime, Allied is worth a fling.
  54. Fugitive Pieces
    Though much of the film's power is tamped down by the passive storytelling style, Dillane's performance as the adult Jakob is compelling, and Ayelet Zurer is beguiling as Jakob's late-in-life soul mate.
  55. Dredd
    The drug that Ma-Ma trafficks in, Slo-Mo, slows its user's brain to 1% of its normal speed. Dredd unfortunately makes you feel as if you, too, have partaken.
  56. 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.
  57. The White Countess
    In any case, the movie moves only when she's (Richardson) in the center of it, and her complex performance as a woman balancing her dignity with her survival instincts is one of the year's very best.
  58. American Teacher
    This heartbreaking and essential look into the lives of those who put so much into educating other people's children ought to be seen by anyone concerned about the fate of the public school system, and the nation as a whole.
  59. Notorious
    Layering his film with the songs that made his subject an icon, Tillman is aware that Biggie connected with his audience because he told stories others instantly understood. Notorious does that, too.
  60. Great Expectations
    Director Mike Newell’s rich take on the story is a fine introduction for new viewers.
    • 60 Metascore
    • 60 Critic Score
    Warm Bodies
    Hoult's genuinely awkward charm and Palmer's tomboyish wholesomeness disarm an audience overfamiliar with this story. The two ably communicate the primitive and irrational feelings of falling in love.
  62. Keeping the Faith
    A mostly accomplished first film, with precise comic timing and some hilarious moments.
  63. With All Deliberate Speed
    Feeling very much like it is meant to educate students who don't understand the ruling's relevance, "Speed" doesn't boast much in the way of innovative storytelling. What it does offer is a story that still badly needs to be told.
  64. McFarland USA
    The actors are in good form, but McFarland, USA can’t find its footing.
  65. Bride Flight
    The plotlines are clichéd and the score overbearing, but uniformly strong turns go a long way towards shaping the lush, nostalgic atmosphere. Don't forget to bring tissues.
  66. Gloomy Sunday
    Is it possible for an historically -based Holocaust movie to be schmaltzy? This one sure comes close.
  67. A Perfect Day
    Director de Aranoa keeps things moving, though, with a firm sense of pace and a rough, punk-edged soundtrack.
  68. Mr. Nice
    So what we're left with is a sort of contact high, drifting gently over to our seats in the back row.
  69. Guys and Balls
    There are moments of genuine emotion between the wacky tryouts and the nail-biter finale, and it seems churlish to complain. But there's little room for laziness around superior players like "Shaolin Soccer" and "Bend It Like Beckham."
  70. The Concert
    How much control are you willing to cede when you see a movie? Because director Radu Mihaileanu is fiercely determined to manipulate your every emotion.
  71. Battle in Heaven
    Reygadas is clearly out to shock us, to shake us and show us a host of furious ideas about class, gender, religion, nationality, love - really, there's very little he doesn't throw into this thickly ambiguous stew. If only he hadn't made his deliberately confusing, heavily symbolic story quite so difficult to digest.
  72. The Heat
    Every foul-mouthed joke [McCarthy] cracks, every unexpected physical gag she underplays, is so funny you forget how often we’ve seen this setup. Or, when it comes to women, how rarely.
  73. Red Doors
    There's enough affection and insight here to make Lee's next movie worth watching for.
  74. Machete
    So now we have a full-length Machete movie, and it turns out that, as usual, less is more.
  75. The Visit
    The actors seem exhilarated.
  76. Illuminata
    Beneath the noisy, farcical surface of John Turturro's Illuminata is a thoughtful and unusually mature meditation on love.
  77. Under solen
    Ultimately, it's the casting and the story that are too good to be true. If a newspaper's classified ad section could document a success like this one, there would never be a slump.
  78. In Her Shoes
    A bungled mess that spends an hour creating two characters whose lives are about as believable as a successful ambush set by Wile E. Coyote for the Roadrunner.
  79. The Governess
    Though Driver's offbeat beauty and Wilkinson's weathered visage make for an unlikely pairing, it works because their passion wells from something deeper than physical apperance. [31 Jul 1998]
    • New York Daily News
  80. Tomorrowland
    This fantasy adventure lacks focus when it should be laser-sharp, and stumbles when it could soar.
  81. What Would Jesus Buy?
    You know that deflated feeling you get after you've spent a lot of time and money shopping - and have little to show for your efforts? This disappointing biography, about performance artist Reverend Billy, does an awfully good job recreating it.
  82. Tumbledown
    So what's the problem? A hundred small annoyances, including storylines that peter out into inexplicable dead ends, others...that drone on too long, a dozen too many reaction shots from Hannah's dogs, important characters whose motivations are unclear, and a lack of romantic chemistry between Hannah (Rebecca Hall) and Andrew (Jason Sudeikis).
  83. Love Is All You Need
    It’s a mystery as to how so much talent combined to create such a cynically superficial product.
  84. On My Way
    Predictable as the adventure may be, the company — and the countryside — make it worthwhile.
  85. Protocols of Zion
    Levin learned nothing that should surprise anyone who is both sentient and sane. But in tracing much of this contemporary anti-Semitism to a phony 19th-century document in which Jewish leaders lay out plans for taking over the world, we at least get some understanding of how some twisted people justify their hatred and fear of Jews.
  86. Brothers at War
    He does accomplish his main task, to take us into places civilians rarely go, and give witness to the immense challenges soldiers like his brothers face every second they’re required to be at war.
  87. RED
    To underestimate actors of this caliber -- even in a popcorn action flick -- would be dangerous indeed.
  88. Rules Don't Apply
    Like Cohen's output, Rules Don't Apply as a whole is strangely hypnotizing. It has not been edited as so many other recent movies have, down to the nub, removing everything but the highlights you can produce movie trailers from. This thing breathes and creaks. It works. Maybe the cracks are what let the light in.
  89. The Debut
    A likable, if somewhat earnest, exploration of cultural identity.
  90. Interview with the Assassin
    Barry, with a raspy Southern accent, gives a chilling portrait of a man who is absolutely sure he killed JFK. Whether he's a psychopath or a schizophrenic is not satisfactorily answered, but it's a fascinating question nonetheless.
  91. Happy Accidents
    D'Onofrio is a natural for the role of a romantic who just may be a freak. A highly physical actor, he ranges between sweetly awkward and a candidate for the kind of mental hospital shown in "Session 9."
    • New York Daily News
  92. Gangster No. 1
    The movie's key asset is young Bettany as a worthy successor to the "Clockwork Orange" tradition of McDowell. With Bettany, a star is born, even if his character is horrific.
    • New York Daily News
  93. Otomo
    A potent drama.
  94. Spartan
    If I were in the sign business, I'd produce a bumper sticker that reads "Even smart people make dumb movies" -- and give the first one to David Mamet.
  95. Cellular
    As Ryan, Evans attempts to graduate from "Not Another Teen Movie"-type fare to more adult stuff. He holds his own, but he has no edge.
  96. Conventioneers
    It is a sign of the times that audiences will watch these equally selfish lovers and find one infinitely more sensible than the other.
  97. Behind the Burly Q
    The real stars of this film are the same ones who stole every show -- women who once boasted names like Tempest Storm, Candy Cotton and Lady Midnight. Their stories are alternately tragic and inspiring, and often very funny.
  98. RA. One
    This wildly entertaining Bollywood action-comedy, with Indian superstar Shahrukh Khan in two roles, pays homage to such '90s flicks as "Terminator 2: Judgment Day" and "The Matrix," adding whimsy and loads of heart.
    • 60 Metascore
    • 40 Critic Score
    Rolling Papers
    No, watching Rolling Papers won’t give you the munchies — but you will be hungry for a better documentary.
  100. 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.
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