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. Clever, buoyant and surprisingly human.
  2. Strong, subtle performances elevate A Silent Love, a slow-moving drama about an unlikely love triangle from first-time director Federico Hidalgo.
  3. Offers only the smallest glimmer of hope that the two sides can work things out through ingenuity and compromise.
  4. Ray
    Every once in a while, a performance pops out of a Hollywood movie that is so brilliant and unique to the matching of actor to role that it's impossible to imagine anyone else achieving it.
  5. Saw
    A gore movie with no teeth.
  6. It's corny, plodding, implausible and - on occasion - seriously creepy. At the same time, it contains a couple of this movie year's most sublime sequences, and features one of Nicole Kidman's bravest and best performances.
  7. Movie love is usually so idealized it ennobles behavior that ordinarily would be considered stalking. Enduring Love deliberately smudges the line between what is bizarre and what is simply human nature.
  8. Take away the violence, ribald humor and salty language, and 800 Bullets is actually a touching tale about family, love and honor.
  9. The latest - and really last-minute - documentary hoping to affect the presidential election is a deceptively partisan view of the Iraq War.
  10. Surely, Vinterberg was high on some inert gas when he embarked on it.
  11. The acting and dialogue is as silly as the potato sack the killer wears on his head.
  12. Does a meticulous job of summarizing these notorious events, but it is the stories of Liuzzo's five children that gives it fresh emotional power.
  13. The best comedy of 2004. In fact, it's so far the best movie of the year.
  14. Like a good horror movie, the images, jolts and artistically directed disorientation will keep your stomach clenched...Like a bad one, it doesn't make a lick of sense.
  15. Ben Affleck's goose is cooked with Surviving Christmas, a movie that makes "Gigli" look like one of the crowning moments in his career.
  16. Fuqua's passion for the music comes through in the clear, unobtrusive style of the film, which mixes generous footage of the event's performances with interviews and archival footage, all adding up to a luscious historical snapshot of one America's original art forms.
  17. Bale gives a near-great performance as a man with all the symptoms of paranoid schizophrenia and the film weaves an ingenious psychological web.
  18. Some of the jokes will elude Americans while the movie's hip quotient gradually fades away.
  19. Undertow becomes unbearably imitative and predictable. It's a kids-in-peril B horror movie in the guise of an art film.
  20. Jenna Mattison gives a charming performance.
  21. Unfortunately, what you'll remember most about the movie is its banal script and dialogue so ripe it almost laughs at itself.
  22. A strange creature, a narcissistic mock documentary.
  23. It turns out that puppets can tell us more about who we are as a nation than the most meticulous documentary. In Team America: World Police, the potty-mouthed, crazily brilliant musical from Trey Parker and Matt Stone, the result is hilarious, shocking and bound to offend nearly everyone.
  24. This is a "What were they thinking?"-size disaster, with the wrong actors in the wrong roles in a project that had no reason to be remade in the USA.
  25. It's a virtual clip reel of grandly comic moments that remind us what a good actress can do when parts are scarce.
  26. In the expanding genre of quirky comedies, first-time writer-director Michael Clancy's messy, fitfully funny Eulogy is among the quirkiest.
  27. Mo'Nique, co-star of TV's "The Parkers," gives a loud, brassy performance as Peaches Whitaker.
  28. Its premise had me worn out by the second reel.
  29. It's a deceptively simple tale that tackles, serenely and with surprising humor, issues of gender, power, custom and change.
  30. In his feature film debut, Little uses washed-out color and a you-are-there immediacy to tell a powerful wartime tale of survival, morality and honor.
  31. Bannon's film makes good use of historical footage to show how a B-list Hollywood actor made the unlikely ascension to commander-in-chief.
  32. Can't cope with its own weirdness.
  33. Through a subplot dealing with Catholic missionaries, an underlying theme of Western encroachment on ancient Korean culture permeates this lushly filmed tale.
  34. A marvel of character-driven drama that no serious filmgoer should miss.
  35. Rousing, action-packed.
  36. What is unusual and exciting about the movie is the assemblage of raw talent in the cast.
    • 73 Metascore
    • 75 Critic Score
    The film provides a rare glimpse into the other side of the Israeli-Palestinian conflict and serves as a chilling reminder that the hostilities aren't about to end anytime soon.
  37. Might as well have been titled "That Kentucky Fried Chicken Movie." That's how it will be referred to, anyway, though some people may insert an adjective such as "convoluted," "disappointing," or "anti-climactic" before the name of the fast-food franchise.
  38. One of those purposely head-scratching films meant to be viewed more than once. The extra ticket sales should easily cover Carruth's initial $7,000 budget.
  39. Offbeat, engaging documentary.
  40. It's not as clever, or as consistently funny, or as well-cast as "Shakespeare in Love," but Richard Eyre's Stage Beauty is the most fun I've had with the Bard since that 1998 Oscar winner.
  41. Here's one for the Sick Voyeurs Club.
  42. Saleem makes clever use of imagery, with the beautiful, snow-filled vistas representing his characters' personal and social isolation. But "Vodka" moves about as fast as the distant ice caps melt.
  43. Bad as he is, Fallon cannot claim Taxi's worst moment. That belongs to Ann-Margret.
  44. Tarnation represents a breakthrough in the possibilities of the personal film as a mix of poetry and journalism. It's also harrowing as hell.
  45. There's a lot of flashy acting going, notably by Travolta, who has not been more engaging on-screen in a decade, and by newcomer Barrett, a willowy Aussie who, as a woman living with the specter of death, gives the film's most complete performance.
  46. Not wildly imaginative, and it has a tepid mix of movie references. But the physical environment and characters make it irresistible.
  47. The cinematic equivalent of the mad-scientist experiment gone awry. It seems to be grooving on its own strangeness, at the expense of its connection with a paying audience.
  48. A riveting rock documentary.
  49. Does an excellent job of telling Kerry's side of it.
  50. If you're looking for cinema, skip this. But as a religion-based self-help workshop for victims of ­childhood abuse, it'sa deadly accurate button-pusher.
  51. 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.
  52. The plot is intricate and tight. The preamble is a bit challenging to sort out. But the movie's engine is the relationships and the characters' inner lives, all of it boiling with emotional intensity.
  53. Its social satire is so dead-on.
  54. There are plot holes you can fly Air Force One through.
  55. The last act, when the movie falls apart like a cheap toy, is both a deus ex machina and an anticlimax.
  56. There is no great story being told here. Mostly, it is a conventional road movie - a buddy comedy even - about the quests of two likable guys. The memoirs exist only because of Guevara's subsequent fame as a revolutionary leader in Cuba, Congo and Bolivia.
  57. But there's no affection in this mean-spirited sendup of "the business" and nothing to mitigate its sour taste.
  58. This off-putting satire is a jumble of misguided ideas that gather like lint in the navel of self-obsessed director Philippe Caland.
  59. Neri Marcore gives a beautifully understated performance.
  60. Everyone somehow ends up in Manhattan for a contrived and predictable conclusion. In his last film role, the late Alan King is reduced to a stereotype of a cantankerous Jewish senior.
  61. Moog mostly has the amiable, 70-ish inventor recounting his story, from his teen years as an electronics whiz in the Bronx to his development of a smaller, cheaper synthesizer.
  62. The award for hardest-to-watch movie of the year.
  63. All trash, all all the time, a run-on burlesque of lust.
  64. The results are often exciting and, except for occa­sional overacting by Calil, feels authentic. But the whole notion of exploiting a war and its victims to shoot a commercial feature is reprehensible.
  65. A sobering documentary done in a whimsical style.
  66. Their ultimate success is a classic victory for the little guy.
  67. Bernie Mac gives surprising wisdom and heart - along with the laughs - to what could have been just another generic baseball comedy.
  68. As a love story, Wimbledon is a washout. As a meditation on sports psychology, it might help improve your game.
  69. Missing beneath its fabulous surface, however, is anything like a beating heart.
  70. Charlize Theron's Gilda in Head in the Clouds invites comparison to Rita Hayworth in 1946's "Gilda," which adds a touch of the ludicrous to this already strained material set in wartime France.
  71. Zelary succeeds as moving indictment of war.
  72. It comes off as a fairly straightforward assault on the kind of political corruption that has crossed party lines in movies since the dawn of the medium, and in books before that. The pleasure here is in the dialogue, the characters and the cast.
  73. With a plot laden with mistaken identities, voyeurism, marijuana-laced brownies and even a cameo by Vanessa Redgrave playing herself, "Merci" tries too hard to be madcap.
  74. The love and attention Oshii poured into animating Batou's pet basset hound proves that the human instinct dominates even in a movie dependent on technology.
  75. A droll gem that celebrates movie love with feeling and deadpan humor.
  76. Herzog, who deadpans his way through the high jinks, is the best thing about the movie, but even he gets wearisome before Nessie has sunk the boat.
  77. If ever a cast of characters needed a good dose of Prozac - or maybe just a hug - it's in this downbeat, low-budget indie.
  78. It all makes Nat Lamp's recent "Van Wilder" look like an instant classic.
  79. 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.
  80. Witt, who cut his teeth as a second unit director on action thrillers "Speed," "XXX" and "The Bourne Identity," instead pours all his energy into stylized, blood-spattered fight scenes that come at a breakneck pace and should please the target audience, who grew up blasting the walking undead on Nintendos.
  81. The movie is fast and fun. Best of all are the actors, who likewise seem to know they've lucked into a rare good gig.
  82. If you're in the mood for a horror movie, this ought to do you.
  83. 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.
  84. Veering between black comedy and intense psychological drama, David Moreton's bizarre thriller never manages to get its bearings.
  85. Toback is a smart guy with kinky tastes who has nothing left but to tempt actors into performing in his sex fantasies.
  86. Some stories are more compellingly told than others, but all, like Trank's film, are deserving of attention.
  87. The resulting movie is a mixed bag, not quite a documentary and yet as "true" to Weber's fascinations as a dog named True can be to his master.
  88. Paparazzi is for anyone who's ever wondered how good it would feel to knock down a photographer with his car and then back over him.
  89. Shot with an annoyingly jerky hand-held camera, Virgin is a test to stick with, and despite the best efforts of Moss, it wore me out.
  90. Structure overwhelms everything, but it's not as if Wicker Park has nothing to say. It's full of ugly truths about emotional frailty, and implies that stalking is a bad thing only when you're not charming enough about it.
  91. A magnificent looking and occasionally very silly Chinese Western.
  92. In a clear case of substance over style, this stark, clumsy documentary tells the heart-breaking stories of a dozen law-abiding Muslim or Arab immigrants and visa workers.
  93. There isn't a genuine laugh or a character who isn't a stereotype in The Cookout, a lifeless comedy featuring a cast of familiar faces who must have needed the paycheck.
  94. It's hard to remain unmoved by Kang's deeply heartfelt homage to his nation's past.
  95. Laura Morante gives a fiery, layered performance as the frustrated matriarch struggling to keep her clan together.
  96. The movie crams in so many of the events and characters of Thack­eray's 900-page novel that the story often seems to be moving on fast-forward, pausing here and there to introduce a character, then skipping ahead — from London to the country to Brussels and on, eventually, to India.
  97. It is not the worst movie ever made, as some critics claim, but it does a passing imitation.
  98. As gorgeous and contemplative as it is, Hero is a genre picture and needs to deliver the action goods. To that end, there are plenty of clever, lovingly choreographed sequences.
  99. It's never a good sign when the creepiest moment in a movie about monstrous 50-foot snakes is the sight of 2-inch leeches sucking on someone's back.

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