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. Outside of the leads, the acting is uneven, but The Tao of Steve has an unquenchable playful spirit.
  2. Has that same air of silly innocence, a rarity in today's movies.
  3. Has the schematic feel of a disease-of-the-week TV movie, but the connections made between jazz and the minds that produce it turns the film into something much more intimate and compelling.
  4. Made in 1998, the picture sags beneath the leaden weight of its pre-millennial theme.
  5. Smart, fun and mildly subversive, but it rides the wave of its joke a little too long.
  6. The joy of Space Cowboys is in spending quality time with some favorite old actors who obviously enjoy working together.
  7. Completely false, manipulative, exploitative and insulting.
  8. Might have worked as a sex comedy, certainly as porn. But as a suspense thriller, it's creepy for all the wrong reasons.
  9. It's just like Paul McCartney's first solo album after the Beatles broke up; he played all the instruments himself -- because he could.
  10. Hand-held cameras give their surface showbiz relationship a sense of immediacy that, like love itself, has more than a hint of danger.
  11. That (cinéma-vérité) feel is absolutely convincing, as are the performances.
  12. A brilliant if slow-paced movie about one man's unwitting journey into adulthood.
    • New York Daily News
  13. Something of a mess.
  14. Feels like a college knockoff of Billy Wilder's "The Apartment."
  15. Only the most hardhearted would fail to be swayed by Messner's surprising strength, and -- dare I say it -- irresistible charm.
  16. A daring feminist movie that, while straightforward to a fault, is a rare opportunity to sample a female point of view from Iran, where such a thing is usually a veiled subject.
  17. With its intriguing relationships and sacrificial acts, Alice is a good alternative to happily-ever-after fluff.
  18. There is one good, legitimate scare in Robert Zemeckis' quasi-ghost thriller What Lies Beneath, and that's just not enough for a movie that lasts more than two hours.
  19. "Grimm's Fairy Tales" were pretty grim, but Criminal Lovers crosses the line and sexualizes your worst fears.
  20. Good or bad, it's either a must-see in your house, or not even on the radar screen.
  21. It feels as though we're on a journey with Benjamin, who proves to be a wryly funny, passionate and complex traveling companion.
    • New York Daily News
  22. So clumsy and unfocused that not getting it isn't half as bad as sitting through it.
  23. On film, and eight years after they were written, his urgent re-creations of an awkward first date, or a Village People obsession, feel both overly familiar and almost embarrassingly earnest.
  24. Most of the film is so purposefully bound by its construct that it feels more like a creative-writing project (sure, give it an A) than a movie (B-).
  25. With all the brooding, stylized closeups of blood, crosses and cigarettes, the overall effect is fashion-mag chic -- not, as intended, intellectual thriller.
  26. A cheaply voyeuristic story whose "twist" is hardly worth the wait.
  27. A solid action story with inventive battles (one on the Statue of Liberty) and satisfyingly gooey special effects.
  28. A reverse male-bonding tale unlike anything you've ever seen. And it's not the easiest good movie to sit through.
  29. Neither can I imagine many sane adults wanting to put themselves through this movie.
  30. Overwhelmingly powerful.
  31. Intimate, deeply affecting family drama.
  32. Amusing and good-natured, but necessarily thin.
  33. The jokes are wild, raunchy, surreal and dead-on.
  34. Petersen's speculative reenactment makes for gripping summer entertainment -- if you don't mind a little corn floating in your brine.
  35. Trixie has "cult favorite" written all over it. That is to say, the general public is likely to say ixnay.
  36. Far from the smart historical epic some might have expected, is just another feisty summer shoot-'em-up.
  37. Unrelentingly, admirably committed to its own grimness.
  38. Carrey's performance is a tour de force of physical mime.
  39. If you haven't had enough of the Central Park rampage videos showing human nature at its worst, you could always pay to see Boricua's Bond.
    • 88 Metascore
    • 88 Critic Score
    Funny, even thrilling.
  40. The real star of the movie is the background work.
  41. Violent, cool and street-smart, Shaft supplies everything you want in a summer movie.
  42. Movies about junkies are often brutal to watch, but Jesus' Son has such a light touch, you have little to fear. Little to gain, too.
  43. A long sit for those unfamiliar with Proust's literary quest and output, but the view is sensational.
  44. An only intermittently amusing genre parody.
    • 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.
  45. Stays firmly, depressingly, inside the lines.
  46. If you're a rave virgin, it'll more likely make you feel like the guest nobody invited. And why would you pay nine bucks for that?
  47. The saga might have worked better as a novel, where we could cast the characters with our imaginations, and keep them straight.
  48. The leaden bits do bring the proceedings to a screeching halt too many times, but the costumes are breathtaking, and the details (like color-coordinated martinis) are dazzling.
  49. Genuinely entertaining and, thanks to a well of self-deluded quotes from the men, shockingly funny.
  50. A mindless, cliche-riddled action-cartoon, a blur of metal and fire and screeching tires, with bad dialogue, cardboard characters and a volume set so high, it makes the Indianapolis 500 sound like chamber music.
  51. Big Momma's got game, but she doesn't have much else.
  52. A silly buddy caper that should delight the adolescent at heart, even if some of the jokes have been sitting too long in the desert sun.
  53. Leaves the viewer exhausted, jet-lagged from the effort of investing equally in competing story lines.
  54. When Kikijuro goes soft, the film falls apart, with him becoming a slapstick clown, mugging shamelessly to entertain Masao and the audience.
  55. There's solid chemistry between Cruise and the stunning Newton, a superb actress previously restricted to such ethnic roles as Sally Hemings in "Jefferson in Paris" and the title role in "Beloved."
  56. For sheer bravura film making, for creating a cartoon world with real air, flesh, blood and the exhilarating cycle of fear and escape, Dinosaur is tops.
  57. An ambitious film that sticks with you long after you have left the theater -- because of both what it achieves and what it does not.
  58. Allen was out of his element in creating characters who feel like East Coast cousins of the Clampetts, and his dialogue has never been more banal or forced.
  59. The jokes, fast and furious enough to satisfy both teens and intrepid parents, are far funnier than they are raunchy.
  60. Savvy, unflinching, often bloody documentary.
  61. A poetic and somber film that underscores the bum deal women usually get in any restrictive society.
  62. Don't like archetypes? Wait till you meet the cliches.
  63. You've got to give Norm Macdonald credit. When he cheats his audience, he warns them first.
  64. One of the darkest, ugliest, most uninvolving and incomprehensible major-studio fantasies I've ever seen.
  65. A deadly script.
  66. Some of the contemporary winks are questionable, but others are undeniably sharp.
  67. Funny and masterfully inventive.
  68. Gorgeous, fascinating and surprisingly suspenseful.
  69. Though Morrow and Forlani are fine actors, they can't even fake a physical attraction between their characters, let alone orgasms.
  70. Viard plays one of the most intriguing female characters in recent film from either side of the Atlantic.
  71. All of Haas' movies have an air of weirdness and dread, and this one is no exception. But it's romantic as well.
  72. Despite the movie's dramatic weaknesses, I was spellbound by the images.
    • 57 Metascore
    • 63 Critic Score
    We get zilch on what kind of human being he is.
  73. You have no idea how determined director Rich Cowan is to suck the last drop of sap out of this tree.
  74. If there's a soft spot in your heart for the sword-&-sandal epic -- and from the star rating above, I think you can guess where I stand -- then you'll swoon with giddy delight over Gladiator.
  75. Feels like any number of forgettable American teen comedies in which the nerd gets the girl and/or the money.
  76. There are so many small, satisfying moments when the women are allowed to be real that it's a jolt each time they become superficial symbols.
  77. The dialogue often sounds like arch Mamet, and John Swanbeck's direction is as spare as the hotel-room decor.
  78. Graham is lots of fun to watch, but it's hard to reconcile the split halves of her character.
  79. One of the most skillful, mesmerizing, tense and satisfying time-warp thrillers ever made.
  80. Is the story being told worth a movie on its own merits? No way. Time Code exists as an esthetic event -- either a trick or a treat, depending on your expectations.
  81. There are certainly glimpses of his underused talent. But there aren't enough of those moments to elevate Croupier above the level of routine melodrama.
  82. Truly depressing commentary.
  83. Saga too arty for own good.
  84. Underdeveloped and badly diluted by overlong -- and overly stylized -- forays into the drug use, street hustling and cultural alienation that mostly affects the boys' friends.
  85. Underdeveloped and badly diluted by overlong -- and overly stylized -- forays into the drug use, street hustling and cultural alienation that mostly affects the boys' friends.
  86. The action is tightly focused and well-paced.
  87. Has a great deal of empathy for that excruciating limbo that is female adolescence.
  88. Makes hoops look like the sexiest game in town.
  89. A mostly accomplished first film, with precise comic timing and some hilarious moments.
  90. A fascinating fly-on-the-wall documentary.
  91. A slice of life that adds up to exactly the sum of its parts, no more, no less.
  92. The Specialist allows Eichmann to convict himself, not of complicity in the Holocaust -- to that he pleads guilty, by reason of nationalism -- but as a man unfazed by his own inhumanity.
  93. The real highlight is when Bateman and his co-workers compare custom business cards in a grueling, ego-shattering game of one-upmanship that is so linked to their sense of self it might as well be Russian roulette.
  94. Not without missteps and the occasional mouthful of sugar, but it grows on you.
  95. The film makers are so anxious to please their audience that they turn the last act into a preposterous cat-and-mouse game that nullifies the integrity of the story.
  96. Feels like an old-fashioned movie in the way it deals with bold sacrifices made in the name of love, while its setting and chary view of the era's political machinations mark it as distinctly modern.
  97. Less a complete story than a work-in-progress.

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