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. Dog Run
    Striking naturalism and blatant dishonesty blend awkwardly in this bleak drama.
  2. Tyler Perry's The Single Moms Club
    This is a film about catharsis and camaraderie, not logic. For some, that — and a chance to see characters the movies often ignore — will be enough to join the club.
  3. Jolene
    The tone veers wildly, from wacky indie to melodramatic soap opera. Like the other men in her life, Ireland adores Jolene without entirely understanding her.
  4. Before We Go
    Unfortunately, there’s a more potent power present here: dullness.
  5. Surveillance
    The performances are dreadful, the direction shoddy and the final twist so idiotic, your mind can’t help but drift toward all the better scripts just waiting, sadly and silently, for the chance wasted here.
  6. Fifty Shades Freed
    Luckily the latest episode to arrive, dubbed Fifty Shades Freed, is also the last. And good thing, too, because by now we’ve definitely gone 100 shades too far.
  7. In the Mix
    Even diehard fans will get more out of watching a four-minute music video than they'll find in this mixed-up mess.
  8. Silent Hill
    The worst kind of horror movie: trash that takes itself seriously.
  9. The Lazarus Effect
    Forget the minor, derivative scares in The Lazarus Effect. The real jolt here is seeing a well-known name playing a monstrous evil force.
  10. The Honeymooners
    Cedric is certainly the bright spot in this movie - personable, silly and lovable, with just enough of Gleason's girth, timing and humanity to make you wish he'd driven Ralph Kramden's bus onto the lot of a different movie.
  11. Lucky Numbers
    The characters she (Ephron) invents are not very interesting, and aside from the always reliable Travolta, the performances are uniformly aligned.
  12. Cursed
    It's hard to tell who is more Cursed - the pretty young people who turn into werewolves on screen or the people who buy tickets for this slow, witless, predictable horror flick.
  13. Teenage Mutant Ninja Turtles
    The cloddish, confusing action scenes make no sense. Young viewers’ eyes will glaze from the first-person video-game style. Nonaction scenes feature people sniping at each other, or, in Arnett’s case, croaking out the script’s half-assed witticisms, until the Turtles show up.
  14. Battlefield America
    Houston does his best with an unlikable character, and the young actors are appealing enough to keep us watching. The movie itself, however, is a mess.
  15. Murder of a Cat
    This is a perfect example of the kind of indie movie J.K. Simmons will hopefully never have to do again if he wins an Oscar for “Whiplash.”
  16. Perfect Stranger
    Think you'd be happy watching Berry do little more than look beautiful? Perfect Stranger gives you plenty of opportunity to find out.
  17. Your Highness
    It's Franco's straight-faced turn that grounds this proudly lowbrow caper from his "Pineapple Express" collaborators, David Gordon Green and Danny McBride.
  18. House of 1000 Corpses
    Zombie's sense of fun gets buried under the growing pile of bodies, and eventually, we're left with little more than a frenzy of sadism.
  19. They
    It starts pushing buttons immediately and never lets up. This proves to be both its strongest asset and, unfortunately, its biggest flaw.
  20. This Means War
    "War" is depressingly mean-spirited.
  21. That's My Boy
    As awful as most of That's My Boy is, it's sort of mesmerizing to see how Sandler - in a script credited to David Caspe - keeps his touchstones in place.
  22. Gray Matters
    This exhausting romance feels more like a long-lost episode of "Three's Company" in which Jack Tripper decides he is actually gay.
  23. Gossip
    Truly depressing commentary.
  24. Pootie Tang
    Pretty thin feature-film subject. But the silliness is so contagious that it doesn't matter.
  25. Antitrust
    Becomes a very conventional suspense film, replete with virtually every cliche of the genre, some used more than once.
  26. The Big Hit
    Mark Wahlberg could lose some of the good will he generated from his performance in "Boogie Nights" by playing an idiotically gentle killer for hire in The Big Hit. [24 April 1998, p. 53]
    • New York Daily News
  27. 5 Days of War
    Harlin even makes poor Kilmer go running about. Just like that image, "5 Days" is embarrassingly clumsy.
    • 31 Metascore
    • 60 Critic Score
    The Road Within
    They don’t come more clichéd than this indie road movie about three runaways who bond as they drive. But riveting, full-blooded performances from the young leads and a tough-love ending raise it above what you may expect.
  29. Death Wish
    But the real problem is that the picture feels padded. There are endless, and pointless, scenes of radio hosts debating the vigilante violence. And the wildly mismatched shoot-outs — every criminal Kersey goes up against is slow, stupid and a lousy shot — waters down the thrills.
  30. High School
    The nearly unrecognizable Chiklis almost single-handedly saves the day.
  31. An American Affair
    This is one of those films in which almost every element is done in such an embarrassingly amateurish way, you want to put it out of its misery.
  32. Oxygono
    There are moments of amusing melodrama, but for the most part, the action is too preposterous to take seriously, and too serious to be very much fun.
  33. Hounddog
    Rarely has there been a movie as misguided as Hounddog, which self-righteously indulges in exploitation while loudly decrying it.
  34. Envy
    Envy is such an ugly emotion, perhaps it deserves an ugly movie. Barry Levinson's Envy fills the bill - a mean-spirited black comedy saturated with dog-poo jokes and only intermittent yowls of mirth.
  35. Hit by Lightning
    Cryer makes a likable sad-sack and Will Sasso provides balance as his narcissistic best friend. But both guys deserve better. As do we.
  36. Monster-in-Law
    Fonda's performance is a perfect storm of histrionics, and she leaves nothing and no one standing.
  37. The Weekend
    Intelligent and holds your attention, like a mystery story unraveling.
  38. Life or Something Like It
    The movie creaks and groans, weighed down by clichés.
    • New York Daily News
  39. Red Dawn
    In this group, only Hemsworth stands out.
  40. First Daughter
    There are plot holes you can fly Air Force One through.
  41. Deception
    The real culprit is first-time director Marcel Langenegger, who seems to have studied for his debut by watching nothing but Cinemax. The score hints at ominous activities that never happen, a rain machine provides the only atmosphere and the actors have to suffer through the silliest sex scenes in recent memory.
  42. Blended
    Before you spend good money to see the purported comedy, Blended, watch the trailer. The entire movie is packed into those 152 seconds.
  43. The Bachelor
    Out of place, out of time and out of its own cultural context.
  44. Sonny
    Shows what can happen when a bunch of good actors get together without adult supervision. They emote all over the place, banging into each other, talking too loud, knocking over furniture, wallowing in clichés and otherwise behaving like rank amateurs.
  45. National Security
    It's too bad the film never makes good on its early promise, but clearly, the rolling fireballs and flying bullets are the priority.
  46. Love the Coopers
    Got your holiday turkey yet? Well, don't worry, Diane Keaton and John Goodman have one waiting for you at the movie theater.
  47. Texas Chainsaw 3D
    Texas Chainsaw 3D sees itself as over-the-top and knowing, but what we ultimately get is simply eyes without a face.
  48. Hot Pursuit
    Hot Pursuit gets cold quickly. That’s certainly not the fault of stars Reese Witherspoon and Sofia Vergara, who work to keep this blessedly brief action-comedy shaking and cruising to an unthrilling end. The blame lies with a dopey script, director Anne Fletcher and a lazy Hollywood assumption that female buddy flicks should be as half-assed as their male counterparts.
  49. Cop Out
    Has its moments, it's also regrettably ordinary.
  50. 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.
  51. Lovesick
    Both LeBlanc and Larter glide through the synthetic setup like pros, but they have no connection because their characters barely resemble human beings.
  52. Crazy Eyes
    This slovenly, self-indulgent riff on Charles Bukowski-like fringe-livers has all of the naked harshness of Bukowski with none of the poetry. At least Haas gives it a good shot.
  53. Vampire Academy
    The supernatural fight scenes are cheesy and cheap, but this movie is less about epic brawls and more about a headmistress in fabulous dresses, secret meetings with brooding boys in the library, sexualized fang pokes and making wisenheimer comments during prophetic visions.
  54. The Mummy: Tomb of the Dragon Emperor
    Boredom is the very basis of this sequel, at least at the beginning.
  55. Dark Summer
    As an exercise in atmosphere, this claustrophobic creeper does a lot with a little, even if the movie winds up providing just superficial shivers.
  56. Idle Hands
    Ill-timed "Hands" has a very limited grasp of comedy.
    • New York Daily News
  57. The Life of David Gale
    In trying to disguise his themes within the structure of a noir thriller, Parker was simply more successful at fooling himself than us.
  58. Winter's Tale
    The whole movie hinges on the allegedly miraculous romance between Beverly and Peter, but Goldsman’s leads are distractingly mismatched and lack even a spark of chemistry.
  59. A Fantastic Fear of Everything
    There’s also little point and a garish quality that goes from pulp to junk fairly quickly, despite Pegg’s presence.
  60. Harry + Max
    Too superficial to shock or surprise.
  61. The Perfect Age of Rock 'n' Roll
    Those who go looking for tragic relevance in Scott Rosenbaum's debut indie won't find much to grasp onto.
  62. Seventh Son
    Director Sergei Bodrov’s movie is based on a kids’ book in which Tom was a 12-year-old, and the actors wisely pitch their performances to a young crowd.
  63. The Cave
    The Cave looks pretty cool - if you're into stalagmites, stalactites and that sort of thing -and the action is nonstop once they're in the hole. Unfortunately, there are no reference points in the dark to let us know where everyone is in relation to each other and to the monsters, and, therefore, there's little suspense.
  64. 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.
  65. The Final Destination
    If you like your gore hardcore, you'll want to head straight for "Halloween II." But if you're happy to ease around a slightly smaller track, look no further.
  66. Playing It Cool
    Screenwriters Chris Shafer and Paul Vicknair’s script feels like a first draft that was written in one night as they got pumped up on Red Bull and speed-watched Netflix. Guys: Another few polishes could only have helped.
  67. Punisher: War Zone
    No worse than the second. Still, it pales in comparison to the first, which starred Dolph Lundgren. And that, right there, should tell you everything you need to know.
  68. 30 Days
    A hit-and-miss romantic comedy.
  69. CBGB
    As a film, the result is static, like Ang Lee’s similarly muddled “Taking Woodstock.”
  70. Badland
    Possibly the worst idea for a movie this century.
  71. The Spirit
    Miller clearly wanted to make an impression, and that he does. Maybe it's better to be remembered for one of the worst movies of the year than forgotten for a mediocre one.
  72. Saw VI
    One we wish we hadn't seen
  73. Bulletproof
    Does the testosterone fly? Not as fast as the potty jokes. Ditto the homophobe jokes zing! zing!
  74. Over Her Dead Body
    Back to Wisteria Lane, Eva, and stay there until we call you.
  75. The Babymakers
    How does a comedy troupe even get from the frat-humor antics of "Beerfest" to the middle-class suburbanality of Babymakers? Well, everybody gets old eventually. Growing up, on the other hand, is optional.
  76. The Hangover Part III
    Galifianakis, though, is the key here. Able to smash a scene to smithereens with the simplest of lines, the hirsute comic is as unpredictable as ever, yet takes director Todd Phillips’ bait to up the stakes.
  77. Love in the Time of Money
    Mattei's script was written in 1998, and the absence of any sense of the impact of 9/11 on New Yorkers is palpable. While watching "Love," I was thinking what great potential there was - still is - for a Manhattan "La Ronde" set in the days following 9/11, when strangers sought comfort from each other in spontaneous sexual alliances.
  78. Gods and Generals
    Turner's guileless amateurism stands in refreshing contrast to the rest of the performances -- stilted, self-conscious and sleep-inducing -- that fill this tedious 3-1/2-hour marathon, the Civil War in real time.
  79. The League of Extraordinary Gentlemen
    Having these characters interact is both the joke and raison d'etre of "League." Its story is beyond banal.
  80. The Pacifier
    An abysmal comedy that should have been strangled in its crib.
  81. Kill Me Three Times
    This Australian movie reminds you what can happen when directors pretend to be Quentin Tarantino, complete with snark masquerading as style, slippery timelines, blood and guts and guns everywhere.
  82. Affluenza
    The movie’s ennui feels like so much posing, and the Bret Easton Ellis-lite characters are monotone. It’s rich in effort, but it all comes to diminishing returns.
    • 30 Metascore
    • 20 Critic Score
    Freedom
    It’s a restrained performance, but director Peter Cousens should have unleashed some of the “Jerry Maguire” Oscar-winner’s energy for this solemn tale.
  84. Little Boy
    Somewhere amid the storytelling rubble in Little Boy there’s a decent message against racial prejudice. But it’s suffocated beneath a hokey premise and hopelessly square execution.
  85. The Boy Next Door
    It’s Fatal Attraction 101.
  86. The Art of War
    A hackneyed movie of zero social, political or dramatic consequence.
  87. Queen of the Damned
    The main theme is the loneliness of the social outcast. That, plus a soundtrack to wake the undead, and the morbidly entombed presence of Aaliyah, will attract an audience despite the movie's intrinsic cheesiness.
    • New York Daily News
  88. Waiting...
    This warmed-over slop feels as if it's been congealing for twice that long.
  89. White Noise
    The unhappy dead populate Geoffrey Sax's third-rate thriller White Noise like a pre-Christmas crowd at a suburban mall. This is a shame, since they are neither scary nor sad, and less likely to haunt an audience than simply bore them to death.
  90. Exorcist: The Beginning
    Nothing fails like bad horror. But it's not despicable. It is merely boring.
  91. The Texas Chainsaw Massacre: The Beginning
    Just another trip down a very dusty road.
  92. Marmaduke
    If Marmaduke achieves anything, it's that it makes this past spring's "Furry Vengeance" look like a masterpiece by comparison.
  93. Night Train to Lisbon
    Murder on the Orient Express, this ain’t.
  94. Cats & Dogs: The Revenge of Kitty Galore
    The James Bond parodies and genre riffs feel at least 20 years past their prime, and most will fly right over the heads of audience members 7 and under
  95. John Q
    It's not honest, and it's certainly no solution.
  96. Grown Ups
    The movie devolves into a series of clichéd bits, none of which are that funny.
  97. The Unborn
    What "The Exorcist" might look like if Madonna rewrote it, this silly fright flick finds college student Casey (Odette Yustman) haunted by a Kabbalistic demon.
  98. Stonewall
    Stonewall may be about coming out of the closet, but it wants to play it straight.
  99. The House
    Ferrell, Poehler and Mantzoukas eventually lean into their neo-gangster personas, and the movie takes the easy route, slipping in parodies of “The Sopranos,” “Terminator 2” and even “The Six Million Dollar Man.”
  100. Mad Women
    It’s a good thing writer-director Jeff Lipsky is a film distributor in real life. He’s his own best hope for getting this dreck out there.
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