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. Manna from Heaven
    Regrettably, neither cast nor crew is able to save it from itself.
  2. Sweet Home Alabama
    Trying to resist Reese is like trying to resist Reese's Pieces: They're always the same but you can't help yourself.
  3. Blood Ties
    Fine actors are let down by a comatose script and wayward direction in this retro crime drama.
  4. A Liar's Autobiography - The Untrue Story of Monty Python's Graham Chapman
    John Cleese, Michael Palin and Chapman himself (courtesy of interviews, skits and various recordings he made before his death from cancer in 1989) chime in. It's an odd little trip, but if it weren't, one would have to ask, "Well what's all this, then?"
  5. Upside Down
    Its compelling conceit is immediately weighed down by leaden execution.
  6. Taken 2
    Taken 2 has a plot that could have been written by a GPS program, and contains all the technical charm that conjures up.
  7. Intruders
    Hollowface, like Intruders (which ought to be just the singular "Intruder," as Hollowface works solo), is all about empty scares. Director Juan Carlos Fresnadillo does include perhaps the most half-hearted exorcism ever filmed, which only seems fitting.
  8. Detention
    It's as if the TV character Dawson directed "Heathers," or another one, Parker Lewis, remade "Scream." Who'd have guessed that would be a can't-lose idea?
  9. Step Up 3-D
    Step Up 3D is so lacking in any kind of edge, it might as well be "High School Musical: The Hip-Hop Edition."
  10. 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.
  11. The Fast and the Furious: Tokyo Drift
    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.
  12. Sydney White
    Unfortunately, though, Bynes' persistent mugging only emphasizes Nussbaum's relentlessly cartoonish direction.
  13. Loverboy
    The real trouble is at its core, with an over-the-top performance from Sedgwick that borders on Baby Jane campiness.
  14. Strange Fits of Passion
    This rather limp Australian comedy shares "Bridget's" theme, but none of its panache.
  15. Vanilla Sky
    The title doesn't hint at the unsavory mess the film actually is.
  16. The Statement
    There's a sensational, highly original performance by Swinton.
  17. Home Fries
    A strange, somewhat icky romantic comedy. [25 November 1998, p. 45]
    • New York Daily News
  18. Elizabethtown
    Crowe was going for something magical in all this, but the film is so affected and mannered, so preciously in love with itself, that it's painful to watch. Scenes go on and on, and when you think the movie's over, it goes on and on some more.
  19. Shanghai Calling
    The movie wants to say something significant about the excitement and alienation of life in a strange — which is to say, new — place. The film never gets there, but its aims are honorable, and the lovingly shot Shanghai scenery does enhance the trip.
  20. The Situation
    Shot in Morocco with hand-held cameras, the movie has the urgency of a heart attack. Clearly tilted against the war, and heavy on explanatory dialogue, it paints a bleak picture of a desperate country that is being exploited by extremists at the expense of the despairing citizens. The situation is dire.
  21. Two Night Stand
    Teller is, by far, the best thing about this easygoing, stubbornly generic independent romance from Max Nichols (son of Oscar-winning director Mike Nichols).
  22. Pride and Prejudice and Zombies
    There's noise and movement, an all-out war, and the usual happy ending, but no real blood, no real life. And not much fun.
  23. Surrogates
    The filmmakers were too busy throwing together potential blockbuster material to notice all the loose ends and gaping holes in logic. Which may, ultimately, explain why Willis looks so confused throughout. Maybe he, too, is straining to locate some intelligence amid all the machinery.
  24. South of the Border
    Unabashedly one-sided, this biography of Chávez - and several other Latin American politicians - does raise some valid concerns about what Stone calls the "manipulative power of the media." So it's too bad he's as guilty of partisanship as the right-wing outlets he reviles.
  25. The Burning Plain
    All the actresses, especially Theron, are appropriately haunted, but let's hope Arriaga's love of echoes, fate and coincidence has run its mopey course.
  26. Hits
    All the low-hum, behavioral buffoonery gets a bit tedious. Still, cheers to Cross for the satirical road he covers, even with all the potholes.
    • 45 Metascore
    • 50 Critic Score
    Snatched
    Hawn deserves better, and so do audiences who are likely to find themselves losing interest in the kidnapping movie’s runaway plot.
  28. The Hottest State
    Hawke, who is very good as the young man's estranged father, had best stick to what he does best.
  29. HellBent
    There are two ways of looking at Paul Etheredge-Ouzts' thriller, which he is proudly billing as "the first-ever all-gay slasher film." Either it's a truly lousy retread of horror-movie clichés, or it's a mildly amusing sendup of them.
  30. Meet the Browns
    Many of the cast members originated their roles onstage, and the ensemble scenes capture the spirited sense of fun that is Perry's trademark.
  31. Full Frontal
    When improv is done well, it sheds a unique light on the human condition. When it is done adequately, as it is in Full Frontal, it simply makes you long for a good script and pricey production values.
  32. Novocaine
    The result is a performance that is neither funny nor empathetic, and the romance that develops between the dentist and the junkie patient is not strong enough to support the mystery.
  33. Just Looking
    Old-fashioned comedy-drama.
  34. El leyton
    Given the subject matter, the movie is almost fatally lacking in passion.
  35. EuroTrip
    A string of sketches. Some are better than others -- or, at least, less bad -- but they exist as extended, stand-alone jokes within an enveloping framework.
  36. Bobby Jones: Stroke of Genius
    I love golf, history and good stories, and I found this to be among the most boring, flat and cliched sports movies I've ever seen.
  37. Lila & Eve
    You can get a little lost following the chain of drug dealers who Lila and Eve gun down. Then again, narrative coherence isn’t really the point. What is vital is Davis’ wrenching performance as a mother who’s done everything right, but remains powerless to keep her children safe.
  38. Kicking & Screaming
    Even a soccer-savvy audience has better things to do - like instilling unsportsmanlike behavior in their kids or sabotaging rival teams.
  39. Hesher
    Any way you slice it, writer-director Spencer Susser's movie is bad company, full of wanna-be-outrageous anecdotes from the fringe.
  40. Madea's Family Reunion
    Perry makes sure villains get their comeuppance, while heroines get big, frilly weddings - with God, and an imperious Maya Angelou - presiding over it all.
  41. Descent
    There is no excusing date rape, but the revenge conceived and executed by Rosario Dawson's Maya in this revolting, amateurish drama is something you might only wish on Osama Bin Laden.
  42. Smokin' Aces
    There's no question Carnahan has an eye for composition, an ear for dialogue and a sense of pace that, if put to better use, could make an audience beg for relief. But the characters in Smokin' Aces are about as lifelike as the occupants of vehicles destroyed in a car-safety test.
  43. Mean Machine
    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.
  44. Rashevski's Tango
    The central metaphor of dance, though, is forced, a standard-issue cliché about dancing away problems.
  45. Waiting for Lightning
    Colorful folks and cool stunts abound, but casual viewers may still utter a big "Why?"
  46. Country Strong
    What saves Country Strong from drowning in its own tears are the leads, all four of whom imbue Feste's unabashedly clichéd script with some genuine humanity.
  47. Rampage
    Some movies are feasts. Some films are desserts. This picture is cheese in a can, and if it only accepted that, it would be a lot more fun — like “Alligator,” the tongue-in-cheek classic that had a toothy terror climbing out of a city sewer.
  48. The Expendables
    The three icons ham it up, do some verbal towel-snapping and have fun, which also describes most of this self-conscious adventure movie.
  49. The Kid
    Neither can I imagine many sane adults wanting to put themselves through this movie.
  50. S.W.A.T.
    The standout in the cast is James Todd Smith, whose acting talent may soon persuade him to shed his adolescent stage name of LL Cool J and concentrate on mainstream film roles.
  51. How to Lose a Guy in 10 Days
    Some of the scenarios are funny. But they're uniformly overplayed.
  52. About Alex
    On the bright side, the actors are experienced enough to anchor their free-floating characters. But if you’d like to see this sort of thing done well, watch 2011’s infinitely superior Channing Tatum dramedy “10 Years” on Netflix instead.
  53. Jonas Brothers: The 3D Concert Experience
    Director Bruce Hendricks makes little use of the 3D technology, though the gimmick does distract from the fact that we learn nothing new about the guys. It would have been interesting to hear something of their history, especially given their much-discussed Evangelical background.
  54. Chasing Mavericks
    As it turns out, the only truly interesting element about this clichéd surfer flick is that it was made by celebrated directors Michael Apted and Curtis Hanson.
  55. Rules of Engagement
    Sometimes, movies would work better if you couldn't see them.
  56. Levity
    Where's the levity, you ask? There is none, or rather, there is none that Manuel can perceive.
  57. Bangkok Dangerous
    There are movies that are all about the characters, and then there are movies, like Bangkok Dangerous, that are far more about the directors who created those characters.
  58. The Scorpion King
    Has been fine-tuned for adolescent boys, from the hectic pace right down to the way Cassandra's breasts are always barely draped.
    • New York Daily News
  59. Bootmen
    What sets Bootmen apart from the vast competition is its exuberant, sexy tap-dancing, but that's mostly relegated to the grand finale.
  60. The Incredible Burt Wonderstone
    Like a creaky Vegas act desperate to please, The Incredible Burt Wonderstone is so eager you can’t help wanting to like it. But you also can’t help wondering if something better is playing in the theater next-door.
  61. Perfect Sisters
    This kind of thing requires a velvet touch, though director Stanley M. Brooks hits only hammer-heavy notes.
  62. Postman Pat: The Movie
    The 6-year-old I watched it with summed it up perfectly: “It starts out fun but then it’s kinda sad and scary. And sorta boring, too.”
  63. Brief Interviews with Hideous Men
    In his directorial debut, Krasinski doesn't seem to believe in his hideous men so much as he appears intimidated by them.
  64. School for Scoundrels
    In the funniest and, coincidentally, most "Jackass"-like scene in Todd Phillips' School for Scoundrels, a planned game of paintball gets off to a bad start when the players begin shooting each other at point-blank range.
  65. Boys Life 3
    A rare opportunity to see shorts without having to spring for a ticket to a film festival.
  66. A Slipping-Down Life
    I have not read the Anne Tyler novella from which the movie is adapted, but it is clear from the earliest scenes that Evie and Drumstrings are of a different generation from 37-year-old Taylor and 36-year-old Pearce.
  67. Frankie and Johnny Are Married
    The result is a funny, tender, satisfying blend of fiction and cinema vérité.
  68. Oz the Great and Powerful
    Don’t be fooled by the smoke and mirrors. There is nothing here that is great, or powerful. Worst of all, there’s nothing here that even feels like Oz.
  69. Rush Hour 3
    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.
  70. 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.
  71. All the Boys Love Mandy Lane
    Despite early promise for a semi-interesting examination of teenage obsession, the film devolves into a standard, and not thrilling, body-count builder. And the “twist” ending is one of the more annoying in recent memory.
  72. Coming Soon
    A deadly script.
  73. Committed
    Graham is lots of fun to watch, but it's hard to reconcile the split halves of her character.
  74. The Ninth Gate
    The movie falls apart toward the end as it enters "Eyes Wide Shut" territory, but until then, it's fun to see bookworms cast in the James Bond mode.
  75. Love & Sex
    Watching the movie felt like any number of bad blind dates.
  76. Pearl Harbor
    The 2,400 Americans who lost their lives at Pearl Harbor deserve a nobler memorial than this sentimental hogwash that reduces heroism to "Top Gun" antics and pretty cinematography.
  77. Samehada otoko to momojiri onna
    Its crazy non sequiturs and anything-goes performances do lend it a certain cult appeal.
  78. The Code
    Interestingly, though, the actor who plays Yanis is a dead ringer (despite the scowl) for Adam Sandler. That's surely an effect director Manuel Boursinhac didn't intend.
  79. Chaos Theory
    The kind of movie designed more for a has-been than a potential leading man, this slapdash dramatic comedy fits the now-established pattern perfectly: Your (Ryan Reynolds) committed performance is the sole reason to see it.
  80. The Jacket
    Adrien Brody is cornering the market on roles where he's hunted, haunted and under-nourished.
  81. Road to Paloma
    Monument Valley makes an appearance, and there are soulful moments of slow motion. There’s enough heart here to make up for whatever first-timer miscalculations ride along too.
  82. Kingsman: The Golden Circle
    Unfortunately, overkill is the order of the day — and it takes a toll. There are too many supporting characters, too much exposition, too many gadgets, too many “Matrix”-inspired, slow-motion fight sequences, too many plot holes instead of twists and too ham-handed a political message about the war on drugs.
  83. Dough
    Dough should have been more easily digestible; the setup is sure to appeal to occasional stoners and Jewish foodies.
  84. Drive Angry 3D
    Pure grindhouse, so committed to its own junkiness that it is, in its way, a pleasure to behold.
  85. In My Country
    Would be better if it weren't so preachy.
  86. The Twilight Saga: New Moon
    Weitz takes a looser approach than the series’ last director, Catherine Hardwicke, did. He has a better sense of humor, too.
  87. The Legend of Tarzan
    Alexander Skarsgard is more abs than actor as the ape man, and Margot Robbie's Jane looks about as 19th-Century as an Aussie surfer girl. Together, they produce all the real-life passion of an Abercrombie & Fitch ad.
  88. Stalin's Wife
    There's plenty of passion beneath this movie's unadorned surface.
  89. Stomp the Yard
    So, yes, the story is bland and predictable and disappointing. But here's the thing about dance movies (or cheerleading movies, or even marching band movies): All that really matters is the action.
  90. Kidnap
    Berry, who’s been down a similar road before in “The Call,” brings grit, guts and tears. But all that’s not enough to break the monotony — or the preposterous conversations she has aloud with herself.
  91. Vatel
    Too much chaos, not enough heart. Bad for the digestion.
  92. Fidel
    It's a shame Bravo doesn't allow herself a broader perspective, because she's right to consider Castro one of the most important figures of the 20th century.
  93. Henry Poole Is Here
    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.
  94. Sympathy for Delicious
    Though Bloom feels like he dropped in from another movie, it all spins on screenwriter Thornton's charismatic performance, which also accounts for the survival instinct inside the film.
  95. Pacific Rim: Uprising
    DeKnight shows he can pilot a CGI fight sequence as well as his predecessor, Guillermo Del Toro (“The Shape of Water”). These movies can be fun once the colossal foes start grappling. They’re even more fun with fewer explanations and more explosions. A movie about massive monster-fighting robots doesn’t need so much engineering.
    • 44 Metascore
    • 80 Critic Score
    The Brothers Grimsby
    If you like dumb gross-out comedies featuring men fellating each other, double entendres about penises and feces, and an obsession with the anus straight out of elementary school, you’ll love Sacha Baron Cohen’s latest effort. If you don’t, what, pray tell, is wrong with you?!
  97. Hotel Transylvania 2
    Well, put a stake in it. It's done.
  98. Two Weeks
    Casting choices seem oddly random (only Cavanagh and Nicholson have any familial chemistry). And the humor, which is vital to a movie this inherently grim, falls flat.
  99. A Good Old Fashioned Orgy
    The jokes are hit-and-miss, but the cast is uniformly game, with Labine stealing the show.
  100. Hostage
    Beyond the cliches, there's something deeply offensive about the way Hostage exploits our empathy for children in peril.
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