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. So after about an hour of watching four children eat, bathe and crawl, you might start to wonder why you've paid to see somebody else's home movies.
    • 77 Metascore
    • 50 Critic Score
    Under that small but growing category of movies that break the mold but that no one but a masochist could sit through is Humanité.
  2. An "American Pie" wanna-be that, in trying to be as tasteless as possible, sometimes succeeds.
  3. Under different direction, Orange County might have drawn a savvy cult audience that would appreciate the black-comedy possibilities of Shaun's idolatry of a certain writing professor (Kline), the homoerotic overtones inherent in best-buddydom and pyromania as a sexual turn-on.
  4. Wilson, Brody and Schwartzman have their charms, but the script gives them little to work with. Anderson and his co-writers have come up with an ordinary road movie.
  5. A by-the-numbers, let's-put-on-a-show quasi-musical that has absolutely nothing going for it, except Alba.
  6. There are some genuinely funny moments amid the gore, but who knew this famously edgy director would find bathroom humor to be such a knee-slapper?
  7. In Mean Machine, soccer is pretty much an excuse to watch a bunch of grown men smashing their heads together. Which, come to think of it, may be enough.
  8. Hasn't a single original idea in its bird brain. But it clowns around just enough while sitting in the dunce chair that after a while it's mildly amusing.
  9. Jelski's dialogue is razor sharp and she got a terrific performance from the relatively inexperienced Gummersall, who runs a gamut of emotions and holds the screen like a seasoned star.
  10. Pie 2's greatest asset is the rare, infectious amiability of its cast of characters and the actors playing them.
  11. Stiller and Aniston have zero sexual chemistry. But they have impeccable comic chemistry in a movie that features some stellar bits of business.
  12. With We Don't Live Here Anymore, it's the audience that may want to leave and start a new life.
  13. This action-comedy will seem fresh only to 8-year-olds -- though it may give parents an excuse to introduce some of the '50s horror movies it parodies.
  14. The movie awkwardly tries to present Bullock and King as an interracial odd couple. But the overall result is charmless, even insulting.
  15. You can't go wrong with an uplifting, anti-war story like this, but director Christian Carion trowels on the schmaltz, and the movie's emphasis on Christian values actually seems to spell doom for solving today's conflicts with the Middle East.
  16. Though the film, adapted from a novel by Robert O'Connor, is obviously trying to reference "Catch-22," it is far too dark and violent to be funny.
  17. There are a few clever moments, as when an Amish farmer saves the tech-savvy students. But mostly, we're in it for the gore.
  18. 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.
  19. Jenna Mattison gives a charming performance.
  20. Had director Ziad Doueiri focused on the resentful Arab youths who clatter provocatively around the edges of his Marseilles-set drama, he might have discovered something interesting.
  21. This sob story is a tough sell.
  22. In general, movies made by improv comedy groups are hit or miss. And this one, from the Upright Citizens Brigade, misses a whole lot more than it hits.
  23. You'll have a few laughs, for sure. Just don't expect to enjoy yourself as much as everybody on screen.
  24. Rush has never played anyone this starkly unsympathetic, and he proves to be very good at playing very bad.
  25. CSA is a sophomoric film essay that would have barely rated a passing grade from a tougher teacher.
  26. The "Star Trek" gibes feel especially lazy, since the movie ought to be "Men in Black" kicky, not sketch-comedy dusty.
  27. This movie's attempt to reinvent Mizer as a First Amendment hero isn't as effective as its triumphant display of beefcake, which is, after all, the movie's raison d'etre.
  28. If an hour and a half of so-called "torture porn" sounds like fun, you'll find Saw IV situated somewhere between the first in the cycle (a solid original with plenty of energy in it) and the last (a gasping copycat willing to do anything to stay alive).
  29. Unlike animated family favorites spiked with jokes for adults that go over youngsters’ heads — like “Finding Nemo” or “Up” — Rock Dog is strictly for kids.
  30. Miller takes Chekhov's themes and checks them off, but he never gets under his egocentric characters' thin skins.
  31. The far too whimsical God Is Great, I'm Not leans heavily on the charms of Audrey Tautou -- As adorable as Tautou is, miracles are beyond her.
  32. Though some of the action cinematography is stunning, and practicing snowboarders will love the sense of camaraderie established, it's not riveting entertainment for the rest of us.
  33. Many of the cast members originated their roles onstage, and the ensemble scenes capture the spirited sense of fun that is Perry's trademark.
  34. It is a purely mechanical movie that is no more dazzling to the eye than a nighttime landing at Kennedy airport.
  35. The only thing to be said for it is The Rock. I've never seen the guy wrestle, but as a movie action hero, he's the real deal.
  36. There are some good ideas buried beneath the grotesque whimsy, and several animated sequences are modestly clever. But Pitt's mannered performance will inspire nothing but a run to the video store, in search of a real Burton.
  37. Manages to look very good for its limitations, and features solid actors doing their best with a very sketchy script.
  38. When 3 Needles premiered at Toronto last year, the stories were overlapping, in the style of "Babel" but without a unifying theme. It's less cumbersome as three separate stories, but they do not add up to much.
  39. Occasionally stumbles into charm but more often is just wayward and hazy. It makes you hungry for a real movie from writer-director Jonathan Levine.
    • New York Daily News
  40. Overwrought and overlong, Returner might been a rousing B-movie -- had it not been hamstrung by Yamazaki's bigger pretensions.
  41. Queen Latifah, as the proprietor of the ­lady's salon next door to Calvin's, brightens things up in the brief appearances that serve as symbiotic promotion for the producers' coming spin-off movie, "Beauty­ Shop."
    • 46 Metascore
    • 50 Critic Score
    This version has action, yes, but the love triangle among Arthur, Guinevere and Lancelot is diluted, and there's nothing exuberant about a dutiful slog through the muck.
  42. A strange creature, a narcissistic mock documentary.
  43. Offers a dazzling showcase for Samuel L. Jackson.
  44. Plays like a throwback to gritty-but-softhearted English dramas of the 1980s like "Mona Lisa" and "Sammy and Rosie Get Laid."
  45. What sets Bootmen apart from the vast competition is its exuberant, sexy tap-dancing, but that's mostly relegated to the grand finale.
  46. As earnest as its artless young characters, Tom Rice's intermittently affecting debut walks a well-trod path without finding anything very new.
  47. 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.
  48. Despite the audience pandering -- not just in its violence, but in its wall-to-wall sexual vulgarity -- there are terrific elements in Baby Boy.
  49. If you have seen the play, especially if you've seen it with the original cast, treasure the memory and protect it. The movie will attack it like a virus.
  50. Eyre offers a merciless, affecting portrait of reservation life, but his relevant themes eventually wash away in a sea of unnecessary sentimentality.
  51. The film itself is a tedious melodrama whose sole saving grace is the performance of Samuel L. Jackson as Tommy Kincaid.
  52. The joke is that the salesmen believe they're actually trying to discover talent and - like the people they're encouraging - are victims.
  53. Sappy and improbable.
  54. The strength of Windtalkers is in its occasional, all-too-short respites from battle, when Enders is struggling with his demons and Yahzee is trying to understand his aloofness.
    • New York Daily News
  55. Overall, though, you get the exhausting feeling that Stolberg is desperately trying to prove how cool he is. And didn't you see enough of that in high school?
  56. This may be the best-looking film in the series; certainly, the Paris setting, with a climactic battle among the girders of the Eiffel Tower, keeps the visuals interesting. Better you buy a postcard.
  57. Prepubescent girls might get a few safe giggles while others around them are yawning.
  58. Feels like any number of forgettable American teen comedies in which the nerd gets the girl and/or the money.
  59. The production values are impressively slick and a few performances are polished, but it's not much more than "The Big Chill" on a little budget.
  60. There are absolutely no psychological insights into sick minds in The Minus Man, a poky, opaque drama with a good cast and not much going on upstairs.
    • 46 Metascore
    • 50 Critic Score
    Manages to distinguish itself with a strong central performance and a mostly low-key approach to the subject matter.
  61. On my list of favorite sports, I rank sumo wrestling just ahead of the truck pull, so I'm not a prime candidate for a "Full Monty" wanna-be about female sumo wrestlers.
    • New York Daily News
  62. Ford, soon to be eligible for Medicare, gives his entire performance without losing his breath or changing his expression, and Bettany, a British actor whose pasty complexion won him the role of Silas the Albino in the coming "The Da Vinci Code," is an apt tormentor cum foil of his prey.
  63. After allowing sadistic violence and whining children to invade his movie like a horde of termites, Carr tries to put one over on us by tacking on a sentimental ending. But as any homeowner could have told him, you can't disguise a weak foundation with a cheap finish.
  64. Beautifully shot, and graced with another winning performance from the lovely Beart, Strayed nevertheless fails because the relationship between Odile and Yvan never makes us feel the sexual passion it implies.
  65. A lazy attempt to snare some preadolescent allowance money, Sleepover earns little more than a few bored yawns.
  66. To say Spike Lee is repeating himself is itself repetitious -- he is getting B-O-R-I-N-G!
  67. But for that one bright, incongruous yuk-fest in the classroom, Luther is deadly material, full of self-righteousness and devoid of balance.
  68. A long and uneventful snooze.
  69. Hard to take stone-cold sober.
  70. Dubbed for U.S. audiences, the film has suffered in translation.
  71. It's as if two-thirds of the book have been reduced to one-word chapter headings.
  72. An adequate but none-too-thrilling star vehicle for Jennifer Garner in flame-colored bustier and low-riding pants.
  73. A few well-timed laughs and a lot of filler.
  74. As with all ensemble horror movies, your first challenge is to guess which of the Carter kin will survive to destroy the creatures killing them, and in what order the family members (and their pets) will fall.
  75. Co-stars Parker Posey and Chris Kattan offer minor diversions, but the humor never rises to the quality any New Yorker, regardless of sexual orientation, would expect.
  76. The kind of movie in which plot and performances (and members of the fairer sex) are treated as accessories, "Tokyo Drift" is all about the action. And on that count, it won't let you down.
  77. With its video game upgrade, Jumanji: Welcome to the Jungle manages to match the silly fun of its predecessor — even without Williams — and that’s no small achievement unlocked.
  78. Beware of movies whose creators boast of the little effort involved. Little reward is what you're likely to get.
  79. The occasionally amusing, generally fatuous romantic comedy about a dazzling divorcee, a smitten Jewish boy and a controlling Jewish mom who also happens to be the divorcee's psychotherapist, is a high-concept movie with a Yiddish accent.
  80. The soundtrack is a genre-hopping joy, and each musical number is cleverly staged and creatively choreographed. The problem is the noble mess of a movie that takes up so much space in between.
    • 86 Metascore
    • 50 Critic Score
    The animated feature The Red Turtle is about as far as you can get from a typical cartoon movie musical. Except for a few tsunami crashes and howls, this lovely but tortoise-paced work from the celebrated Japanimation house Studio Ghibli is basically a silent film.
  81. A Belgian "Deliverance," Calvaire (The Ordeal) not only treats us to a few good scares, it also teaches us that Europe has its own rednecks.
  82. The material has no dramatic center, a problem pointed up by Brooks' failed solution to it -- his use of an ugly-cute little dog, Simon's pet.
  83. Like the direction, the script veers all over the place before reaching its inevitable, unsurprising destination.
  84. May be the biggest gathering of high-decibel performers in one movie. But they work well together and some are truly excellent.
  85. If you want to make a film, this is a great place to start. But if you just want to watch one, it's more of dead end.
  86. This plodding British revenge thriller has less energy than a pint of Bass that has sat out overnight.
  87. The story doesn't make any real sense, and the production values are home movie-cheap. But the cast seems to be having fun.
  88. Trapped does have a fine ensemble of actors and, except for what may be the most outrageously idiotic and improbable ending in a few years, is not that bad a movie.
  89. Barely qualifies as a documentary. It's the personal journey of a man hoping to claim a million-dollar literary prize by proving that Marlowe wrote Shakespeare.
  90. Lady, like all of Shyamalan's movies, is a slick production with consistently interesting visuals... But the story is so convoluted and ultimately preposterous that you're almost embarrassed by the earnestness of the actors trying to carry it off.
  91. There are some light chuckles to be had, but considering its promising parentage, this is surprisingly soft stuff.
  92. How anyone could make such an uninvolving movie out of such a fascinating subject remains its own inexplicable mystery.
  93. The Buis seem not to have complete confidence in their unique, imprecise style, which is too bad.
    • New York Daily News
  94. Seems to have been made entirely for people who were kids during the Johnson administration.
  95. The awkwardly told story of salsa legend Hector Lavoe, El Cantante doesn't even get the title right: It should have been called "La Esposa," since it's really less about the singer than his wife.
  96. It's a diary, collage, meditation, elegy. But, unless you're going for a Ph.D. in code-breaking, it's also a bore.

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