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. Intelligent and holds your attention, like a mystery story unraveling.
  2. An update with a jolt of sheer exuberance.
  3. None of the children are professionals, and their uncontrived performances lend a painfully real quality to what becomes a rather lyrical story.
  4. It's hard not to feel empowered by Nathalie Baye.
  5. Close call as to who's career has sunk farthest.
  6. Meadows is very good with the boys' relationship, and achieves his and Fraser's central goal of showing how childhood bonds can be simultaneously fragile and strong.
  7. As urban gangster drama, Once in the Life is way below mundane, and Fishburne's direction exceeds the rookie jitters.
  8. This is ensemble work at its best.
  9. The characters she (Ephron) invents are not very interesting, and aside from the always reliable Travolta, the performances are uniformly aligned.
  10. In Bahman Ghobadi's heart-tugger about Kurdish orphans, those wide eyes are too often used as a manipulative device.
  11. Strikes a nice balance between smart and sweet.
  12. All we get is the Oedipal nightmare of a mom, the flaky teddy-bear fanatic, the sexual vampire, and on and on.
  13. The characters are boring, the violence generic, the suspense nonexistent.
  14. The real revelation of Sound and Fury is how it introduces hearing people to a culture they insist on ignoring.
  15. This updated version has the good sense to star Brendan Fraser, who is shaping up as one of our finest romantic-comedy stars.
  16. Some of the artists appear ecstatically transported as they play. Others are just having one hell of a good time. Believe me, it's contagious.
  17. A pleasure, chock full of creatively choreographed fight scenes.
  18. With one exception (hint: Faye Dunaway), the actors seem remarkably at home in their milieu.
  19. This Grimm-influenced fairy tale has a contemporary twist and the best of intentions, and that's about all there is to say for it.
  20. Atoothless morality play.
  21. Neither chimps nor children should be subjected to such shabby mediocrity.
  22. My rule of thumb for manipulative movies: I don't mind playing the marionette as long as the strings aren't visible.
  23. One of the curmudgeonly director's sweetest films, and features one of Richard Gere's most affecting performances.
  24. A guilty pleasure, right up there with "The Water Boy."
  25. If even one audience member leaves more concerned with the evils of poachers than the pleasures of Pokemon, Disney's more than done its job.
  26. Since there's no suspense whatsoever, we're simply stuck with awful people doing awful things to each other.
  27. (Rourke's) nearly unrecognizable presence is characteristic of the odd pockets of talent (and, sometimes, lint) in Steve Buscemi's film.
  28. It's not just a movie about an underdog who fights the odds, it's about following one's heart -- despite the obstacles.
  29. Though Flicker based the story on real events, the execution is so melodramatic that none of it feels remotely true.
  30. Old-fashioned comedy-drama.
  31. His (Kaminski) first feature is so thoroughly awful, it isn't even interesting to look at.
  32. A grim, poetic, heart-wrenchingly fine ode to the lost children of Glasgow's forgotten class.
    • New York Daily News
  33. One
    Once in a while, a little reality can be a welcome antidote to our increasingly outsized film fantasies.
  34. Lurie has made an impressive contribution to the bulging library of political film, and he has showcased some performances sure to get Oscar consideration.
  35. The result is a throwaway story hidden beneath a messy jumble of weird camera angles, worthless editing tricks and an ill-placed, obnoxious score.
    • New York Daily News
  36. A gentle, soulful comedy about everyday dreams and what it takes to make them come true.
  37. Passes like an evening spent with friends.
  38. Impressionistic and open to interpretation, which is a kind way of saying that there's no way to figure out the ending.
    • New York Daily News
  39. This is the kind of misfire that can take everyone down with it. It's not just bad, it's mean-bad.
  40. What makes it work so well is superb chemistry and a light touch. The spray-painted cat scene doesn't hurt, either.
  41. Locks in on its self-destructive subjects so precisely, it's almost unbearable to watch.
  42. What sets Bootmen apart from the vast competition is its exuberant, sexy tap-dancing, but that's mostly relegated to the grand finale.
  43. Uplifting and moving in a traditional Hollywood way, while also seeming as raw and unfiltered as cinema vérité.
  44. It's the first mainstream gay movie that feels totally comfortable in its shoes.
  45. Ought to suit fans just fine.
  46. History as filtered through the faux-liberal prism of Hollywood's dream factory, and an insult, I believe, to the people who actually carried the fight and endured the pain for civil rights.
  47. About the only plausible element in the entire movie is bratty Vanessa's loathing of "Aunt" Mona, whom she sees as a vacuous over-reacher.
  48. Never shies away from either the beauty or the cruelty of the hunt.
  49. When it's funny, Best is hilarious.
  50. Won't change the world, but thanks to its casual intimacy, it was a risk worth taking.
  51. Awkwardly plotted drama about a runaway child in Central Park.
  52. A genially mellow, consistently entertaining spoof.
  53. The deliberate simplicity that works so well at the Sullivan Street Theater seems flat, anachronistic and almost spooky on the big screen.
  54. Although it's recycled from start to finish, there are some decent jokes laced throughout, plus enough gore to satisfy the most bloodthirsty tastes.
  55. Gets the proportions all wrong -- too much magic, not enough realism.
  56. Kinsella, in his feature debut, milks cliches, caricatures and an unlikely set of coincidences to tie things up in a neat bundle.
  57. What is meant to be an innovative, cutting-edge musical melodrama is so jumbled, irrational and amateurish that it makes dinner theater look like the Old Vic.
  58. Krabbe attempts to stuff too many themes and subplots into the story.
  59. Her story (Ganatra) -- and the rest of the gifted, multicultural cast that brings it to life -- represents another step in the evolving face of film.
  60. Forces the audience to rethink the riots in new and difficult ways, to find empathy and revulsion where it might not have known they existed.
  61. There is undeniable pleasure in watching these pros at work, but the murky depths of the soul can make for a dreary two hours.
  62. A strong, gritty, powerful piece of film making, and one of the three or four best movies made about the Vietnam era.
  63. In this unpleasant mess of a movie, a heroin-like drug called "blue" is said to be "more addictive than air."
  64. All the full-blown wackiness turns a rather sweet movie into one that's decidedly overripe.
  65. The result is an undeniable and effective authenticity.
  66. While it's visually stunning, the pretentiousness makes it hard to take seriously.
  67. Harris brings into focus a nearly forgotten success story, filling in another blank in the ultimate mosaic of the 20th century's greatest tragedy.
  68. A hit-and-miss romantic comedy.
  69. Sloppy, self-satisfied and surprisingly heartfelt.
  70. It may be a dismal comedy thriller, but Antoine Fuqua's Bait has one piece of bait that's definitely appealing: Jamie Foxx.
  71. Smart, psychologically complex film is an offbeat and effective tale.
  72. A deeply felt, if occasionally amateurish, journey through some very affecting terrain.
  73. Hard to take stone-cold sober.
  74. Explores the comparatively enlightened Berlin culture that had allowed homosexuality to flourish in intellectual and social circles before the Nazis forcibly changed the national mind-set.
  75. A great movie -- and the best movie ever about the '70s rock era.
  76. A confused, empty, only occasionally funny mess of a movie.
  77. Frenzied, gothic nonsense.
  78. Good intentions abound in this earnest debut film.
  79. It's an amazing slice-of-life story that will make you want to rush home and hug the kids.
    • New York Daily News
  80. While their often-unclothed bodies are visible, their faces are replaced with digital "buttons" saying things like "Your ad here."
  81. A black comedy that features Renee Zellweger as the most adorable psychiatric-trauma victim ever.
  82. A simple story that resonates deeply, largely thanks to the actors' ability to invest it with inner life.
  83. The movie is paint-by-numbers with several numbers skipped.
  84. Normally, I'd recommend a movie like this only to diehard fans. But even they may want to wait until it hits cable.
  85. Profoundly depressing.
  86. She (Walters) may be working with old news, but she shores up this shaky film with a heart the size of an ocean liner.
  87. Remarkable first film.
  88. A hackneyed movie of zero social, political or dramatic consequence.
  89. Clever, slightly edgy fun.
  90. Watching the movie felt like any number of bad blind dates.
  91. It's not so much good material as divinely inspired delivery.
  92. An admiring but overly simplified walk down memory lane.
  93. Disturbing, visually stunning thriller.
  94. For devout fans of the greenish monster and for those looking to shoot fish in a barrel.
  95. Should have sold its soul for a little help in the script department.
  96. Not so much a movie as a self-contained world for like-minded people who wear their outsider status on their sleeves.
  97. You might want to sit out this season.
  98. Enjoyable, intelligent little heist movie.
  99. Less a movie than a very expensive display of Afro wigs and macrame wall hangings.
  100. Manages to jerk more than a few tears at all the right moments.

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