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. Winnie Mandela
    Any urgency the movie has comes from co-star Terrence Howard, a firebrand of an actor who can’t be contained by a paint-by-numbers script.
  2. Annapolis
    A record number of movie cliches are strung together for the otherwise forgettable boot-camp drama Annapolis.
  3. Autómata
    The performances range wildly from high (Banderas) to low (Birgitte Hjort Sørensen as Jacq’s pregnant wife) to you-must-be-kidding (Melanie Griffith as both a scientific genius and a prostitute android).
  4. Baywatch
    After a sharp, satiric opening, though, Baywatch slowly sinks. The scenery is pretty, including the actors, but Johnson and Efron are better at making fun of themselves than landing zingers.
  5. Girl Play
    With little plot and a stifling set, the ­movie needs stronger performances than its leads can offer.
  6. Flypaper
    It's a mess from start to finish, but there's still fun to be had in Rob Minkoff's caper comedy.
  7. 1911
    This drama, as traditional as its subject was epochal, is earnest and studious to a fault. Rarely has a film about upheaval felt more like a textbook.
  8. Inescapable
    Muddled and inert despite the best intentions, this inescapably dull thriller plays like a Middle Eastern take on Liam Neeson’s “Taken.”
  9. My Big Fat Greek Wedding 2
    Among the lessons learned: marriages need tending and distance can make people closer. Not earth-shaking, but harmless. Like this sequel.
  10. Freddy vs. Jason
    Though a stickler might ask what's at stake in a fight to the death between two guys who are already dead, the hard-core fans aren't likely to be disappointed.
  11. Be Cool
    The author is not to blame. Published in 1999, "Be Cool" is hipper, cooler and better than "Get Shorty," but everything hipper, cooler and better about it is either missing from the film or camped-up beyond recognition.
  12. Gimme Shelter
    From an artistic perspective, Ron Krauss’ heavy-handed drama, Gimme Shelter, fails almost entirely. But if the director set out to combine the stilted falsity of 1980s after-school specials with leaden political dogma, he’s certainly achieved his goals.
    • 37 Metascore
    • 20 Critic Score
    Burying the Ex
    How did the guy who made “Gremlins” and “The Howling” direct this cheap-looking, sophomoric, unfunny dreck?
  14. Judy Moody and the Not Bummer Summer
    A young Aussie actress who seems as all-American as a Magic 8 ball, successfully walks the tightrope from precocious to exuberant, never once falling into obnoxiousness. That could describe this crackerjack of a kids' movie as well.
  15. Son of God
    Director Christopher Spencer’s biblical yarn lacks the complex rigor of Martin Scorsese’s “The Last Temptation of Christ” and the fury of Mel Gibson’s “The Passion of the Christ,” leaving its star, Diogo Morgado, stuck in a film that’s stiff and earnest.
  16. The Tourist
    Goes about its game so bloodlessly, the result is some of the most unexciting action and seduction sequences in recent memory.
  17. What's the Worst That Could Happen?
    Mostly a lazy string of setups and sight gags, of tongue-in-cheek confrontations between the two stars that barely amount to sketches.
  18. Crocodile Dundee in Los Angeles
    He (Hogan) and the other backers of the movie are betting that Dundee has been gone long enough to make him seem fresh, or -- like that old uncle -- at least welcome.
  19. Dieu est grand, je suis toute petite
    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.
  20. Confessions of a Burning Man
    Essentially a home movie, nicely shot but dull.
  21. Domino
    The movie is quite off its rocker: Jerry Springer, Chrisopher Walken, Tom Waits as a roadside prophet, a miscast, nervous Lucy Liu as an FBI agent -- it's a feverish, violent jumble that's shot as if high on mescaline -- the drug, not the salad.
  22. xXx: State of the Union
    Critics are inclined to describe the action in films like "XXX" and Lee Tamahori's sequel, XXX: State of the Union, as "cartoon violence." I'll resist doing that out of respect for cartoons.
  23. Wrath of the Titans
    The biggest fault is that comparatively little attention is given to the monsters.
  24. The Lone Ranger
    This smart-looking but empty adventure — with a hero that looks more Tom Ford than John Ford — suffers from a shambling script, shifting tones and a surplus of villains. Clunky and drawn out, “Ranger” shoots blanks, even with the star power of Johnny Depp behind it.
  25. Evan Almighty
    Carell and Freeman are great together and Wanda Sykes' acerbic humor is perfect for her role as Evan's perplexed assistant.
  26. The Face of an Angel
    How do you make one of the decade’s most sensational crimes boring? It’s an odd trick, but director Michael Winterbottom manages it in The Face of an Angel, a stubbornly dull retelling of the famous Italian case.
  27. Waist Deep
    Billed as an action thriller, it plays out as an urban-fairy tale version of "Bonnie and Clyde," with an ending suitable for a Harlequin romance.
  28. Seven Days in Utopia
    There's a climactic putt, of course, but by then you wish Duvall would get one more "Tender Mercies" under his belt so you can forget about this tin cup of a family flick.
  29. Charlie St. Cloud
    Though it was directed by Burr Steers, Charlie St. Cloud feels more like a misguided collaboration among Nicholas Sparks, M. Night Shyamalan and Billy Graham.
  30. Walking with Dinosaurs
    Yes, the film’s CG dinos look great tromping in the Alaskan wilderness, but children deserve better than such unchallenging fare.
    • 37 Metascore
    • 20 Critic Score
    Annabelle
    Wallis is commendably restrained and Alfre Woodard adds class as Mia’s wise ally. But Annabelle is a vortex of visual clichés beyond rescue.
  32. Cold Comes the Night
    Cranston, in a fake beard and dark glasses, seems to be enjoying his goofy act. Trouble is, this isn’t the kind of movie in which goofy earns goodwill.
  33. Miracle at St. Anna
    Of course the experiences and sacrifices of black troops, which were so often overlooked, should be represented and honored. But because Lee underestimates our desire to do so, the movie that follows doesn't do them justice.
  34. Bad Company
    The main problem with this whole Jerry Bruckheimer-produced mess is that they took a promising comedy setup and squandered it by trying to make a legitimate spy thriller out of it.
    • New York Daily News
  35. Love Don't Cost a Thing
    But where the original was slight but sweet, the remake is depressingly superficial and cynical.
  36. I Now Pronounce You Chuck & Larry
    Directed with his usual flair for the obvious by Dennis Dugan ("The Benchwarmers), "Chuck and Larry" has the nowness factor of a Polish joke. Does anybody laugh at this stuff anymore?
  37. The United States of Leland
    There's a reason filmmaking is considered a craft, and Hoge, a former teacher in a juvenile prison, cannot pull off what would be a tricky proposition for a skilled veteran.
  38. The Other Woman
    The one person who does appreciate Emilia is Portman - which is what saves The Other Woman from the easy judgment toward which it so often appears to be edging.
  39. Are You Here
    The compelling Draper’s the creation of “Mad Men” mastermind Matthew Weiner, the writer-director of Are You Here. Which begs the question: how could Weiner make, as his debut comedy, a movie as amateurish and off-putting as this one?
  40. All the King's Men
    Failures on the scale of writer-director Steven Zaillian's All the King's Men are as rare as falling sequoias, and they make a noise even if no one's in the woods to hear them. This sequoia is very noisy indeed.
  41. 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.
    • 37 Metascore
    • 80 Critic Score
    Fist Fight
    It’s rare that a movie with so many F-bombs and drawings of male reproductive organs has such a witty Ken Burns gag. Fist Fight is a knockout.
  43. Haven
    Like a mango rotting in the sun, Frank Flowers' squishy Caribbean thriller has been sitting on the shelf long enough to attract suspicion. Bite into it at your own risk.
  44. War, Inc.
    Has TOO much happening, which befits a comedy with a lot of targets but ultimately makes the whole operation scattershot.
  45. Heist
    So, Bobby, seriously, what the hell is happening? You got a new movie, or what you’re billing as a movie, except it's already on cable and I figure a month from now it'll be in one of those Redbox things. And it's called Heist, I guess because it wants to separate me from my money.
  46. Mercury Rising
    A brutal and preposterous action movie about a guy, a kid and a secret code. And a whole lotta shattering glass.
    • New York Daily News
  47. Sex: The Annabel Chong Story
    Never gets at what makes Quek tick.
    • New York Daily News
  48. Analyze That
    With any sitcom, the freshness is ultimately in the writing, and I think the jokes are better here than in Analyze This, and the actors are more comfortable together. I don't know if De Niro is softening or has lost his edge, but he now seems content mocking himself.
  49. A Life Less Ordinary
    This aggressively "sincere" movie is without a single authentically lived moment a sense exaggerated by Brian Tufano's overcomposed cinematography, which imitates the glossy hollowness of fashion photographs. [24Oct1997 Pg 51]
    • New York Daily News
  50. Special Forces
    It's an odd showcase for Diane Kruger. She is never very believable as Elsa, a war correspondent who has been kidnapped by the Taliban.
    • 37 Metascore
    • 60 Critic Score
    Fun Size
    By the end of this romp, Fun Size actually accomplished something charming: sentimentality without normality.
    • 37 Metascore
    • 40 Critic Score
    Delhi Safari
    Except for a few scenes with some flamboyant vaudeville pink flamingos (giddily voiced by Jane Lynch and Jason Alexander), the film is without wit and, sadly, entirely forgettable.
  53. Garfield: A Tail of Two Kitties
    In a town as status-conscious as Hollywood, the embarrassment of two "Garfield" movies on your résumé must sting like the Dickens.
  54. The Kid & I
    Arnold's heart is in the right place, but somebody needs to save him from himself - and soon.
  55. The Samaritan
    The most charitable approach to this unfortunate diversion in Jackson's career would be to pretend it never happened. Now, who wants to go see "The Avengers" again?
  56. Jessabelle
    There are few scares here, but plenty of mild grossness. The absurd ending ties up the mystery in a way that’s sure to annoy both supernaturalists and realists.
  57. Love Ranch
    Though based in truth, Mark Jacobson's script is built on age-old clichés. And nobody knows how to end the film, so it just fizzles out.
  58. Let My People Go!
    It would appear that for his first feature, Mikael Buch wanted to leave nothing to chance. So he threw in enough action for five movies, amped the comedy up to frenetic levels and encouraged his cast to play to the rafters.
  59. Honey
    A by-the-numbers, let's-put-on-a-show quasi-musical that has absolutely nothing going for it, except Alba.
  60. The Nut Job
    Focused mostly on one location, the cartoon is stuffed with exhausting visual mayhem. Some jokes land, but most kids over 10 will roll their eyes.
  61. Battle: Los Angeles
    This one isn't original, or even bearable. By its thudding end, audiences may wish they could be zapped from the theater to escape the buzzing in their ears.
  62. Cold Creek Manor
    The jolts are mild and too easily anticipated.
  63. Suspect Zero
    Preposterous, physically hideous paranormal thriller.
  64. The Bye Bye Man
    The young cast is generally okay. The real pleasure is the rare appearance by Oscar winner Faye Dunaway, who plays as a woman who may know how to defeat this spirit.
  65. Wolves
    The first 30 minutes of this cheap-looking monster drama are admittedly rough going. But once the “Twilight”-meets-“Sons of Anarchy” silliness kicks in, there’s a lovable lunacy at work.
  66. The Double
    Gere and Grace do make a decent odd couple, but neither seems entirely committed.
  67. This Time
    This earnest, at times touching, reach-for-your-dreams doc about musical hopefuls in middle age gets sidetracked quickly. When it should focus on a reunited R&B group, it wallows in the self-aggrandizement of an L.A. producer and, most awkwardly, a New York cabaret singer.
  68. Only God Forgives
    Whether one thinks Only God Forgives is laughably awful — like, for instance, “Showgirls,” “The Color of Night” or “Battlefield: Earth” — or just plain terrible awful depends, appropriately, on how much you’re willing to forgive it.
  69. The Frozen Ground
    What’s more depressing: that John Cusack chose the junky, un-exciting serial killer drama The Frozen Ground as his latest step away from John Cusack-y roles, or that Nicolas Cage chose to, at long last, be as un-Cage-like as possible?
  70. The Country Bears
    Most of the resulting film is downright bizarre. Which, as it turns out, is not entirely to its disadvantage.
  71. The Island of Dr. Moreau
    This movie is not just bad, it is breathtakingly, spectacularly, awesomely bad. You might want to see it out of curiosity. [23 Aug 1996, p.40]
    • New York Daily News
  72. The Story of Us
    Overwrought comedy-drama.
  73. Crush
    The tragedy that separates the Good Crush from the Bad Crush is a cleaver that severs the film's relationship with reality.
    • New York Daily News
  74. Ted Bundy
    The Bundy portrayed here doesn't have even the veneer of charm; he's a raving psycho, and watching him work, whatever the filmmakers' intent, is revolting exploitation.
  75. You Got Served
    This amateurish drama about street-dance contests and busted friendship is about as real as Lil' Kim's chest.
  76. Speed Racer
    The cast is generally game for playing cardboard cutouts, with Goodman having the most fun.
  77. W.E.
    While W.E. cannot be counted as a successful directorial effort, there are genuine elements of interest here. The most notable is a nervy central performance from Andrea Riseborough, who plays true-life Baltimore socialite Wallis Simpson.
  78. Seven Pounds
    Saintliness is a heavy burden to carry, and Smith can't help but buckle a bit. He's always interesting to watch, but crafting a real person out of his cardboard character proves an impossible task.
  79. The Night Flier
    A grade better than the made-for-cable market whence it came.
    • New York Daily News
  80. Three to Tango
    A thin, by-the-numbers romantic comedy that nevertheless features one saving grace: Matthew Perry.
  81. Poolhall Junkies
    Stole so many details from the earlier film, "The Hustler," that you have to think of it as either a bad parody or an unfortunate homage.
  82. Steal This Movie
    An admiring but overly simplified walk down memory lane.
  83. Little Black Book
    A screechy chick-flick relationship comedy with a lot of things working for and against it - mostly against it.
    • 36 Metascore
    • 0 Critic Score
    Bravetown
    This isn’t Bravetown. It’s Crazytown.
  85. Rebound
    A dreary comedy in the same mold (as "The Bad News Bears," only moldier.
  86. After.Life
    The only thing worse than bad horror is pretentiously bad horror. From title to finish, After.Life takes itself far more seriously than you will.
  87. Tooth Fairy
    Tooth Fairy's script -- which was written by five people -- is lousy, and the direction, by Michael Lembeck, is weak.
  88. Æon Flux
    The wordless six-minute animé shorts - at the end of which our double-jointed heroine would always die - don't lend themselves to a 95-minute action movie where viewers might rightfully expect something to make sense.
  89. Arthur
    This Arthur is missing a soul.
  90. Days and Nights
    In a movie, nothing good ever seems to happen at a country house. And when it comes to this film, nothing very interesting happens, either.
    • 36 Metascore
    • 40 Critic Score
    Flock of Dudes
    The supporting characters are lifeless vessels in a movie that fails to break away from the traps of the hit-or-miss romantic comedy genre.
  92. Against the Ropes
    As a boxing movie, Against the Ropes is perfunctory, with a well-muscled Omar Epps diligently enduring predictable montages showing his rise to fame as Jackie's first protégé. As a biopic, it's likewise uninspired stuff.
  93. Abandon
    Has the integrity of good dialogue and enough of a writer's preserved craftiness to make it a worthwhile date-night attraction.
  94. Jeepers Creepers II
    There are some nicely gory touches for genre connoisseurs...But JC2 lacks the all-important character development we got in the first installment.
  95. Biker Boyz
    If you want old-school cool, you go to Laurence Fishburne.
  96. Returner
    Overwrought and overlong, Returner might been a rousing B-movie -- had it not been hamstrung by Yamazaki's bigger pretensions.
  97. A Man Apart
    The film would be totally unwatchable without the very real charisma of Diesel.
  98. Last Love
    Not much happens in Sandra Nettelbeck’s intimate family drama, but its well-drawn connections between lonely souls make an impact nonetheless.
  99. The Tollbooth
    The question is, if Sarabeth is so desperate to escape this oppressive distillation of Jewish neuroses, why would filmmaker Debra Kirschner think we'd want to stick around?
  100. Remember the Daze
    The original title of Jess Manafort's directorial debut was "The Beautiful Ordinary," and she shouldn't have changed it. After all, her cast is beautiful and her movie is ordinary.
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