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. Southpaw
    When boxing cliches work, they can deliver a knockout. When they don’t, as in Southpaw, we get just punch-drunk.
  2. Emperor
    Director Peter Webber (“Girl With a Pearl Earring”) fills the film with conciliatory emotion and jarring vistas of post-atomic landscapes. Unfortunately, Emperor needs more good ol’-fashioned swagger.
    • 59 Metascore
    • 40 Critic Score
    The Outrageous Sophie Tucker
    This gossipy, affectionate movie about the daughter of Jewish Ukranian immigrants’ rags-to-riches story and her survival as a star into the mid-1960s is a lot of fun. But it doesn’t get under her skin.
  4. Resurrect Dead: The Mystery of the Toynbee Tiles
    Without a satisfying resolution, the movie ultimately sheds very little light on its own subject.
  5. The Assignment
    The Assignment is a movie about a heartless assassin, a mad doctor and a forced surgery. But it’s the movie that should be sued for malpractice.
  6. The Last Exorcism Part II
    Now Bell can break out of the genre. She's served her time.
  7. Super
    Super starts off feeling like a cult comedy you might catch during a midnight film festival. But since Gunn never nails his tone, the concept makes more sense than the execution.
  8. Furry Vengeance
    This is just one nutso, painfully unfunny family flick.
  9. The Eagle
    This old-fashioned sword-and-sandal drama has all the bread and circuses we've come to know from the movies. It flirts with interesting story choices, but ultimately, all roads lead to boredom.
  10. Lord of the Dance in 3D
    It's simply a blandly shot recording of Michael Flatley's musical revue, as performed overseas.
  11. Frank the Bastard
    Why doesn’t Wendy Vanden Heuvel do more film? As Clair’s cranky cousin Alice, she does more acting with a smirk and a turtleneck than the rest of the cast combined.
  12. The Canyons
    The Canyons has more in common with Schrader’s opulent immoral tableaux “The Comfort of Strangers,” “Auto Focus” and “The Walker” than with his other work (including the script for “Taxi Driver”). It’s weaker than those, though, and less biting.
  13. Hello, My Name Is Doris
    Luckily for Hello, My Name Is Doris, Sally Field is still so likable, really likable.
  14. Good
    An uncharacteristically stiff Mortensen can't break free from the clichés that constrain his character, who feels more like a symbol than a real person.
  15. Centurion
    Marshall shows off the breathtaking landscape, but with interiors, he populates the ale houses and encampments with cliches - like dueling female warriors, one a mute and the other a white-haired vixen.
  16. After Words
    Director Juan Feldman trusts his actors to charm us, which they do — up to a point. But there’s only so much that can be wrung out of this spinster-meets-exotic stud, “Summertime”-lite affair.
  17. Alex Cross
    Though they lack chemistry as a team, it's gratifying to see both Perry and Burns stretching in ways they haven't before.
  18. Annie
    For all the talent involved, the overall effect is surprisingly flat. Foxx appears disconnected, Byrne is wasted and a painfully hammy Diaz seems to be in another movie altogether.
  19. 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.
  20. Burn After Reading
    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."
  21. The Pool
    Smith ("American Movie") sees the poetry in everyday people, and lets his rambling story find its own rhythm.
  22. The Host
    Watch closely and you might even spy a better film inside, straining to break free.
  23. A Million Ways to Die in the West
    In the end, Albert’s biggest problem isn’t the threat of coyotes or cholera. It’s that he’s being played by the wrong guy.
  24. Love Crime
    More cold fish than cold-blooded, director Alain Correau keeps his movie buttoned up and predictable.
  25. About Time
    What makes the calculated sentimentality palatable is Curtis’ intelligent assurance as he guides us through each step. It’s a gooey indulgence, to be sure, but one that will please anybody with a cinematic sweet tooth.
  26. The Loss of a Teardrop Diamond
    Descends with dismaying speed into clichéd Southern melodrama.
  27. The Myth of the American Sleepover
    The real problem is that this eager-to-please debut never quite achieves its own, more modest ambitions.
  28. Flipped
    There's barely half a film here, stretched and pulled so thin you can nearly see through it.
  29. Madea's Witness Protection
    While I fully support the appearance of a new Madea movie every six months, even Tyler Perry can't be bothered to take this setup seriously.
  30. Cold Turkey
    Writer-director Will Slocombe presents a familiar buffet, but there’s good stuff to pick over.
  31. 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).
  32. The House Bunny
    not a good comedy. But there's no airbrushing out the funny surrounding its star.
  33. The Short Game
    Some parents are mellow, and others have instilled emotional problems in their children. This less-than-illuminating work resembles the spelling-bee doc “Spellbound,” only with a promise of high-end endorsements and far more pampering.
  34. Narco Cultura
    The dissection and discussion, though well-intentioned, winds up lifeless.
  35. G-Force
    What it is, really, is a trainer film, meant to prep the world's youngest ticketholders for the day when they're old enough to help turn Bruckheimer's bigger movies into blockbusters.
  36. Hop
    As fake and forgettable as a marshmallow Peep, Hop goes down easy enough.
  37. Elektra Luxx
    Gugino is having a ball, but every scene feels like an oh-so-arch one-act.
    • 65 Metascore
    • 40 Critic Score
    Ondine
    Jordan's screenplay aims for a romanticism that the beautiful but stiff Bachleda is unable to fulfill. And the ending, which injects the film's dreamy sensibility with an ugly note of realism, crashes over everything like a frigid wave.
  39. Flypaper
    It's a mess from start to finish, but there's still fun to be had in Rob Minkoff's caper comedy.
  40. The Awakening
    This stately chiller owes a lot to 1960s British flicks like "The Innocents" and "The Haunting," but unfortunately heads towards cliches with every step.
  41. The Girl on the Train
    Director Tate Taylor, who neatly wove together women’s stories in “The Help,” is out of his depth with a thriller. He fills the screen with endless close-ups but not a lick of tension.
  42. Fast & Furious
    Like a lemon that's been tricked out with a fancy paint job, Fast & Furious won't stand up to much scrutiny under the hood.
  43. Certifiably Jonathan
    This rambling, unfocused, shuffling documentary paints the famous standup in broad strokes, only occasionally providing worthy examples of how Winters inspired generations.
  44. Larry Crowne
    It put-puts along like a moped in busy traffic, content to amble around but not go anywhere.
  45. The Good Heart
    Dagur Kari both wrote and directed, so he has no one else to blame for so little originality. Neither does his hard-working cast, all of whom deserve better.
  46. Paul Blart: Mall Cop
    Perfectly inoffensive and almost entirely unfunny, Paul Blart: Mall Cop is more of a numbing experience than a painful one.
  47. 3 Backyards
    From the insistently discordant score to each overthought shot, this triad of stories feels self-conscious and deliberately arty rather than heartfelt.
  48. 4:44 Last Day on Earth
    Feels stagy and anti-visceral.
  49. Pineapple Express
    When "Pineapple" goes from ganja to genre, it sours.
  50. Tyler Perry's A Madea Christmas
    Comedy characters change and grow. Sometimes, as we see in Tyler Perry's A Madea Christmas, they become so much like old relatives that their edge is gone.
  51. Before We Go
    Unfortunately, there’s a more potent power present here: dullness.
  52. Repo Men
    The big problem here is that dark sci-fi satire works best when it aims for several targets. Repo Men aims at corporate greed, which is good, but doesn’t fill in the details.
  53. The Children of Huang Shi
    Never achieves the David Lean style of epic it aims for - exterior vistas and interior dramas - but it has two charismatic performances, beautiful Chinese locations and an admirable lack of sentimentality.
  54. Pride and Glory
    Overshoots the mark by spinning its implausible, hyperviolent tale around too tight a family circle.
  55. Crash
    Concludes in a shower of ashes, which is fitting because this movie is a billowing bonfire of ugly human behavior. Rarely have there been so many characters in need of timeouts, cold showers or house arrests.
  56. Tennessee
    The good news for Carey is that she gets to prove she's a pretty decent actress after all. The bad news, of course, is that she's done it in a movie no one has any other reason to see.
  57. Demolition
    Demolition is a wreck.
  58. The Conjuring
    If The Conjuring were less of a con job, horror fans would not feel equally as trapped.
  59. Aurora
    Maddeningly mundane, this Romanian drama aims for an antiseptic look at random violence and, unfortunately, achieves it.
    • 28 Metascore
    • 40 Critic Score
    Supremacy
    Supremacy is so grueling an ordeal that its revelations barely penetrate the murk.
  61. That Awkward Moment
    That Awkward Moment is eminently forgettable — but worth remembering as Poots’ moment.
  62. Alvin and the Chipmunks: The Squeakquel
    The 6- to 10-year-old audience this movie is aimed at deserved better.
  63. Mansome
    Think of Mansome as the equivalent of a $10 manicure: It'll modestly enhance your day without making any lasting impact.
  64. Dirty Weekend
    The only thing more boring than this comedy about two colleagues on a layover in Albuquerque might be an actual layover in Albuquerque.
  65. The Fifth Estate
    What a letdown it is to see this spellbinding, era-defining story tamed into such stodgy submission.
  66. Dorfman in Love
    Brad Leong’s “quirky” romantic comedy retreads ground that is already so well worn, everyone just slides right through.
  67. Resident Evil: The Final Chapter
    True, the movie's intense, and Jovovich is certainly in fighting shape. But after 15 years of this franchise, it's getting hard to tell Alice from the things she's fighting. It's all squint and grunt, slash and groan.
  68. Black Nativity
    The movie doesn’t weave religion into the familiar structure of a comedy or melodrama. Instead, everything works in service to the sermon at the core. For most audience members, that will either be the primary draw or an inescapable drawback.
  69. Spread
    Although Kutcher deserves some ­credit for trying to spread his professional wings, it quickly becomes clear that he's in over his head.
  70. The Doorman
    Built on an amusing idea that can't quite support an entire movie, Wayne Price's comedic debut might have made a terrific short.
  71. Extreme Measures
    Sarah Jessica Parker makes an unflatteringly tense appearances as a nurse who knows more than she's telling, and David Morse dredges up his hulking soulfulness as a maverick FBI agent. But no one involved in "Extreme Measures" is displaying a commitment beyond showing up for work. [27 Sept 1996, p.42]
    • New York Daily News
  72. Scream 4
    After a promising start that uses Anna Paquin and Kristen Bell to perfection, they settle into their old stomping grounds as if they'd never left - and that turns out to be a letdown.
  73. Beautiful Boy
    Actors are left with too much time to play emotional symphonies, while inevitably having to hit too many required notes.
  74. A Touch of Spice
    Don't expect to taste anything surprising.
  75. The Edge of Love
    The Edge of Love may be intended as a biopic of Welsh poet Dylan Thomas, but it’s destined to be remembered as the movie that brought Keira Knightley and Sienna Miller into the same bathtub.
  76. Predators
    Predators tries to spice up the hunt-or-be-hunted thesis, but from the get-go, director Nimrod Antal's movie has nowhere to run.
  77. The Front Line
    While its tone and humanity offset the futility of each side's need for one crucial hill, much of this intense, honorable film is too drawn-out.
  78. Medicine for Melancholy
    Cenac is witty and Heggins has a wary stillness, but the movie itself seems too shy to let them really engage each other.
  79. John Rabe
    Proudly matter-of-fact but, sadly, far from gripping.
  80. Love Etc.
    With all of the city available, she made the curious choice to follow couples who are neither unique nor especially memorable.
  81. Still Mine
    If last year’s searing old-age tragedy, “Amour” — or 2006’s bravely blunt “Away From Her” — weren’t digestible enough for you, perhaps this mild romance will suffice.
  82. Tetro
    Despite the overwrought plot and unabashed pretension, there's something admirable about the fact that Coppola clearly made this movie for himself. But he shouldn't be surprised if few others join him in watching it.
  83. Child of God
    It’s McCarthy’s complex use of language, rather than the plot’s grueling imagery, that elevate the book. There’s simply not enough insight here to make the punishment worthwhile.
  84. Bad Boys
    The plot line quickly becomes incomprehensible, and the movie, directed in sleek music-video style by Michael Bay, comes to suggest a very long night on Fox-TV. [7 April 1995, p.56]
    • New York Daily News
  85. The Color of Time
    Franco himself is ponderous playing Williams, which tends to overwhelm everything. A cool concept, and A for effort.
  86. Adult Beginners
    The not-funny-enough dialogue can’t mask writer Kroll’s unoriginal plot.
    • 68 Metascore
    • 40 Critic Score
    The Shining
    The opening scene of The Shining is along a narrow mountain road while the “Dies Irae” plays ominously on the soundtrack. The camera veers out away from the car toward the horizon as if to bear down on something significant… and then comes back to the car. The movement is a sort of portent for the direction of the movie, which takes two and a half hours to go nowhere.
  88. War Story
    An excellent Keener commits reliably to the role and does give us moments worth savoring. But the underwritten script and misguided direction leave her stranded.
  89. House at the End of the Street
    We will simply be grateful she (Lawrence) is here, and thus able to turn generic junk into mildly interesting junk.
  90. No Escape
    There’s no fleeing the clunkiness in No Escape.
  91. Tomboy
    Its young heroine is proud to be herself; there's just not much for her to do beyond that.
  92. The Art of the Steal
    Director Jonathan Sobol clearly understands the first rule of a good grift: misdirection. He packs his middling caper flick with so many known faces, it’s easy to miss all the other familiarities.
  93. Hall Pass
    Ever catch yourself thinking, "Man, I wish beer commercials lasted just 104 minutes longer"? The Farrelly brothers are ready to make your dreams come true.
    • 44 Metascore
    • 40 Critic Score
    This Is Where I Leave You
    They say any group is only as strong as its weakest link. Well, the weak link in This Is Where I Leave You is the film in which the appealing cast members are stuck.
  95. Ex-Girlfriends
    Even taken on its own, this story of Graham (Poe), a single New Yorker feeling his way toward adulthood, feels like a promising college project that wasn't ready for the real world.
  96. Answers to Nothing
    Apparently, it takes a village - or the collection of villages known as Los Angeles - to go nowhere slowly.
  97. The Dukes
    About the kinds of showbiz hangers-on seen in the background of a Scorsese movie, and it feels like those guys decided they were the real stars.
  98. Starbuck
    A high-concept goof that’s hard-pressed to surmount its twee preposterousness.
  99. Home
    Jim Parsons is the sole bright spot in the cast as the alien hero, giving him the same halting confusion as he gives Sheldon on “The Big Bang Theory.”
  100. The Last Ride
    Thomas offers particularly fine work, but the underwritten script, which relies too much on sentimentality, gives him little to do.
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