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. The Bounty Hunter
    This synthetic comedy is instantly grating.
  2. I Melt with You
    It almost seems unfair to mention that Carla Gugino shows up as a cop 80 minutes into these overlong proceedings; by then, viewers who walk out would never even have known that she was involved.
  3. Brick Mansions
    The film is put together too choppily to appreciate the bounce-off-walls athleticism of parkour. That’s a shame, since “District 13” star Belle is known as a founder of the sport.
  4. Diana
    You certainly won’t learn anything of interest about the Princess of Wales in Oliver Hirschbiegel’s misguided new biopic. But Diana can be declared a success in one regard — its vacant inanity serves to remind us of the perpetual indignities forced upon this unlucky Lady.
    • 61 Metascore
    • 20 Critic Score
    FrackNation
    With many of McAleer's facts coming from casual Internet searches (backed by boring shots of the computer screen), the accuracy of this crowd-sourced documentary - funded by small donations on Kickstarter - seems as reliable as a Wikipedia entry.
  6. Draft Day
    Haven’t Cleveland fans suffered enough? Not only have they never won a Super Bowl, but now the Browns serve as the center of Ivan Reitman’s painfully creaky sports drama.
  7. The D Train
    In this dramatically disappointing comedy, Dan (Jack Black) is a loser. And not a lovable one, either.
  8. The Man from U.N.C.L.E.
    It’s slow, lethargic, utterly lacking in charm and undeserving of the Cold War setting that is its best trait.
  9. Leap Year
    On the plus side, the Irish landscape is gorgeous, and Scott and John Lithgow are amusing in small roles. But Goode barely makes an effort, so Adams' frantic exertions feel especially disheartening
  10. Saint Laurent
    Fashion junkies and junkie junkies are the only audiences likely to enjoy Saint Laurent.
  11. Mysteries of Lisbon
    The result is a dull, high-minded soap opera.
  12. Percy Jackson: Sea of Monsters
    There isn’t even an actual sea of monsters in “Sea of Monsters,” unless you count some fish guts.
  13. The Maid's Room
    It’s admirable that writer/director Michael Walker wanted to make a socially conscious thriller. But surely he didn’t have to replace all the thrills with broadly moralizing messages.
  14. Planes
    Little ones will stay engaged, but any kid old enough to fly unaccompanied will probably search for other in-flight entertainment.
  15. Manny
    Only a fool would say it to his face, but eight-time divisional boxing champ Manny (Pacman) Pacquiao has a limp swing as a documentary subject.
  16. The Lovely Bones
    Peter Jackson siphoned out all the soulfulness that made the author's combination thriller/afterlife fantasy a best-seller. In its place is a gumball-colored potboiler that's more squalid than truly mournful.
  17. Maggie
    Its creepy atmosphere aside, Maggie is a slog of the living dead.
  18. Neighbors
    Neighbors stakes its claim in suburban-property cliches. Given the dull, stale results, maybe the end of the world was a better fit.
  19. Barefoot
    This ill-advised romance from director Andrew Fleming is the sort of indie lark that nearly drowns in its own whimsy. Wade in at your own risk.
  20. Moms' Night Out
    There’s nothing inherently wrong with faith-based entertainment. The problem comes when, as with any heavily slanted perspective, the faith takes precedence over the entertainment.
  21. My Name Is Bruce
    Willing as Campbell is to Shatner-ize himself, his movie will appeal only to true believers.
  22. Sucker Punch
    If I were to guess how Hollywood envisions the inside of a teenage boy's brain, it would look exactly like Zack Snyder'sSucker Punch."
  23. Madea's Big Happy Family
    Perry's characters have always been drawn with broad strokes, as heroes or villains. In this case, all the villains are young women, and all the young women in this film-without exception--are monstrous.
  24. 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.
  25. Mister Foe
    Jamie Bell gives a watchable performance in this self-conscious, coming-of-age drama, though the film's overall effect is best described as David Lynch lite.
  26. Oculus
    The result: a dangerously cracked creep flick.
    • 44 Metascore
    • 20 Critic Score
    Walking with the Enemy
    While a noble, inspiring story, the filmmaking is blunt rather than intelligent.
  28. Saving Lincoln
    The movie’s gimmick is having the actors visually superimposed over sets created from actual Civil War photographs. But this collage effect, while striving for truthfulness, comes off like a View-Master version of a tale already told.
  29. Take
    Another preachy, overacted message film that owes its out-of-time structure to "21 Grams" and "Babel," except writer-director Charles Oliver uses the idea of restorative justice.
  30. Perfect Sisters
    This kind of thing requires a velvet touch, though director Stanley M. Brooks hits only hammer-heavy notes.
  31. The Slammin' Salmon
    Thirteen-year-old boys big enough to sneak into R-rated movies are presumably the prime audience for this witless comedy from the Broken Lizard troupe.
  32. The Best of Me
    There have been times when the right team has been able to transcend the gooey schmaltz of Sparks’ stories. This effort, however, sinks like a rock thrown into a sun-dappled lake shaded by magnolia trees sparkling under a sky of shooting stars.
  33. Hounddog
    Rarely has there been a movie as misguided as Hounddog, which self-righteously indulges in exploitation while loudly decrying it.
  34. Premature
    The blatantly misogynistic treatment of the female characters, who exist solely to service Rob and his best friend (Craig Roberts), would have felt retrograde in a movie made decades ago.
  35. In Time
    Sadly, for 99% of its running time, this muddled sci-fi drama is filled with enough overplotting, bad acting and riddle-speak dialogue to stop a clock.
  36. The Losers
    The Losers is simply a lot of low blows, telegraphed each and every time.
  37. Frozen
    Frozen is good for five minutes of "What would you do if?" games. Then it's just stiff as a board.
  38. The Purge
    The movie even makes night-vision-goggle scares more irksome, a rare feat.
  39. Tenderness
    Director John Polson's elliptical storytelling style quickly becomes an irritant.
  40. Fantastic Four
    Someone forgot to put anything fantastic into Fantastic Four.
  41. And Now a Word from Our Sponsor
    This would-be satire earns an E for Effort for wanting to be to the advertising world what “Being There” was to television.
  42. Paranormal Activity: The Marked Ones
    The concept is the same, and just as tired as it was when the second, third and fourth sequels to “Paranormal Activity’s” 2009 first installment.
  43. Transformers: Age Of Extinction
    If you're not an 11-year-old boy, or a grown-up in the mood to feel like one, the endless "wow!-that-car-is-now-a-deep-voiced-robot" scenes lack thrill. In fact, the action scenes, as in the previous films, are downright headache-inducing.
  44. Lake City
    Only natural spitfire Spacek, as the pickup-driving mom of the land, feels fresh. There's even a mouthy kid Garity is "taking care of" - guess whose son he is?
  45. You Won't Miss Me
    Other than those related to cast and crew, it's difficult to imagine who else would sit through Ry Russo-Young's self-obsessed indie.
  46. Aftershock
    A lot of Aftershock predictably involves screaming or shock cuts, and the movie features a blink-and-you-miss-it cameo from Selena Gomez.
  47. Supercapitalist
    Filled with enough clichés to be broken up and sold in pieces as junk material.
  48. Walking with Dinosaurs
    Yes, the film’s CG dinos look great tromping in the Alaskan wilderness, but children deserve better than such unchallenging fare.
  49. The Misfortunates
    The title of The Misfortunates ­really applies to any audiences unlucky enough to sit through it.
  50. The Moment
    The story itself is fairly straightforward, but lands with a thud.
  51. The Purge: Anarchy
    The film’s “What if?” scenario takes the germ of an interesting social-science idea and lets it rot in a nasty, ethically questionable cesspool of junk cinema.
  52. Jewtopia
    Even if we had never heard of Woody Allen or Adam Sandler, this schlocky effort would feel about as fresh as a week-old bagel.
  53. Tim and Eric's Billion Dollar Movie
    Appearances from Jeff Goldblum, Zach Galifianakis and John C. Reilly help some, but all the mincing from Heidecker and Wareheim, the wanna-be, gross-out humor and THE CONSTANT SCREAMING get tiring.
  54. Mother's Day
    A Mother’s Day movie full of flat jokes, reheated clichés and two hours spent staring at your watch.
  55. Bad Santa 2
    Billy Bob Thornton's grouchy Santa is finally back, but his sequel is pretty ho-ho-horrible.
  56. All's Faire in Love
    Finding a fresh setting for a comedy is difficult, but a Renaissance fair is too broad a target.
    • 45 Metascore
    • 20 Critic Score
    Blindness
    Piles on the indignities, violence and island-of-man turmoil.
  58. Project X
    Though the central blowout is as epic as advertised, so is the movie's self-congratulatory obnoxiousness.
  59. Blood Ties
    Fine actors are let down by a comatose script and wayward direction in this retro crime drama.
  60. Java Heat
    It would be nice to say that Rourke, at least, offers a reason to see this junky thriller, about an American agent who gets involved in an Indonesian terrorist plot. But as entertaining as it is to watch him adopt a strange accent and swan around in sarongs as an eccentric jewel thief, it’s also a little depressing. The paycheck cannot possibly be worth it.
  61. Madagascar 3: Europe's Most Wanted
    Madagascar 3 can't upgrade its own shtick, becoming a craven example of a fast-buck, no-fun family film.
  62. 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.
  63. Petunia
    Even in shabbily put together dramedies, such as this one, there can be a glimmer of light. Here it’s Christine Lahti’s anguished, nuanced turn as a wife and mother excited to begin a new phase with her husband.
  64. The Tracey Fragments
    The Tracey Fragments is a grating stunt that plays like a film-school project, cutting a bland story into a million tiny irritating pieces.
  65. Bride Wars
    Hudson has, if nothing else, traded up: last winter she was stuck in "Fool's Gold."
  66. Viktor
    Preposterous things are everywhere in this lethargic thriller.
  67. 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.
  68. The Art of Getting By
    Well-meaning but dreadfully executed movie.
  69. Revenge of the Green Dragons
    The local angle offers a degree of flavor, but this is a dull tale, reminiscent of a hundred others. The dialogue is ludicrous, the video stock looks cheap.
  70. Johnny English Reborn
    It must be said that everyone - including Dominic West and Rosamund Pike -- works awfully hard to entertain us. But that just makes it all the more depressing when joke after joke falls painfully flat. Stay home and introduce your kids to Mr. Bean, instead.
  71. 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.
  72. Black Rock
    Black Rock is as dingy and dirty as the genre thrillers it appears to want to one-up. All it does, though, is bring everyone down.
  73. Refuge
    Jessica Goldberg’s sluggish directorial debut feels like a leftover from the 1990s, when dank indie dramas littered film-festival lineups.
  74. 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.
  75. Absence
    What starts as a creepy, original conceit — mysterious Caesarean-section abductions during hospital stays — devolves quickly into standard talk-to-the-camera, jump-at-the-sounds, found-footage banality.
    • 53 Metascore
    • 20 Critic Score
    Dog Eat Dog
    Movie fans might be better off watching a dog actually munch on another dog. Paul Schrader's latest action drama is downright awful.
  77. The Thorn in the Heart
    The connection they share is clear; the reason we're invited to sit in is foggy at best.
  78. Steel
    The film is slow-moving, overlong and never more ambitious than a TV feature, though younger kids will probably respond to O'Neal's amiability. [16 Aug 1997, p.24]
    • New York Daily News
  79. The Reunion
    The only real reason to see this movie is to show unwavering loyalty to Cena. And even so, he'll never know if you wait to watch it on cable for free.
  80. Extraterrestrial
    Most of this dull movie is played straight. But as a local UFO nut, genre stalwart Michael Ironside (“Scanners,” “Starship Troopers”) provides solid comic relief. He feels dropped in from another movie. Or another galaxy.
  81. Serious Moonlight
    It's also suffocatingly stagy, especially when the husband's new love (Kristen Bell) and a violent thief (Justin Long) show up.
  82. What We Did on Our Holiday
    “Holiday” is more palatable than similar, American-bred films like “The Family Stone” or This is Where I Leave You. Still, once Connolly’s sad-eyed, hippie-ish cancer sufferer is gone, there’s little reason to keep going.
  83. 21 and Over
    How ironic (depressing? predictable?) that the week after we celebrate the best in movies, we are force-fed its very worst. 21 & Over is filmmaking by formula, and evidence of Hollywood’s assumption that appealing to viewers’ basest instincts will always pay off.
  84. A Cat in Paris
    The charmless but harmless A Cat in Paris hits theaters yet doesn't enchant.
  85. Strangerland
    The brooding and emotional prickliness gets overwhelming. Kidman tries her best to flesh out her character, but writer-director Kim Farrant gives this still-undervalued actress little to do.
    • 30 Metascore
    • 20 Critic Score
    The Gallows
    Sorry, but this kind of high-school horror was old when Jamie Lee Curtis was young. All the ugly, shaky, night-vision camerawork in the world will not make it seem fresh. Or remotely scary.
    • 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.
  88. The Tortured
    It's bluntly written, poorly shot and edited, and cruel without being clever.
  89. No Strings Attached
    On the bright side, Ivan Reitman's disappointing new comedy isn't just cheap and formulaic, but so forgettable few people will even remember she (Portman) was in it.
    • 5 Metascore
    • 20 Critic Score
    The Human Centipede III (Final Sequence)
    Neither Scary nor eye-rollingly fun, The Human Centipede 3 (Final Sequence) is the dullest entry in an atrocious trilogy.
  91. Stung
    Director Benni Diez tries for schlock shocks in this giant-bug flick. Sadly, what’s left out here is the fun.
  92. Lovesick
    Both LeBlanc and Larter glide through the synthetic setup like pros, but they have no connection because their characters barely resemble human beings.
  93. Welcome to the Punch
    Unfortunately, the rest of writer-director Eran Creevy’s film just shows that the Brits, too, make good-looking but empty thrillers, just like in Hollywood.
  94. Lockout
    Directors James Mather and Stephen St. Leger stage a few good action set pieces, but unlike the 1981 midnight movie classic it imitates, the blandly titled Lockout never busts out of its cheesy concept.
  95. Self/less
    Laughable/Bad
  96. The Trouble with Romance
    Ever fast-forward through a late-night cable romance just to get to the good parts? This amateurish relationship dramedy features all the stuff you'd skip, and nothing else.
  97. 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.”
  98. Gummo
    Virtually plotless, the movie does its best to be offensive, but not in the service of any particular theme. The use of mentally impaired youngsters as actors is cheap and exploitative. You can only wonder about the emperor's new clothes, and how much Hollywood paid for them. [17 Oct. 1997, p.52]
    • New York Daily News
  99. Arthur
    This Arthur is missing a soul.
  100. Antichrist
    Von Trier ("Breaking the Waves," "Dogville") has no barriers, which absolutely can be a good thing. Here, though, his uninhibited nature is an omen of the pretentious butchery to come.
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