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. His film may offend (it very nearly makes one nauseous) but there is no doubting the fact that it is the end product of a brilliant, highly original mind.
  2. In the year of the animated movie, this one soars above them all.
  3. An urgent, stirring story made all the more inspiring by the very ordinary nature of its subjects.
  4. The documentary plays it down the middle, neither condemning nor romanticizing the political outlaws, but making sense of who they were and what they did.
  5. An extraordinary morsel of a movie, and yes, you'll want sushi afterward. But it won't taste like Jiro's.
  6. It’s fun to see Bateman channel his inner prick. But the gaslighting husband/cruel high school tormentor subplot is so underwritten that it feels tacked on.
  7. It’s rare when a psychological drama gets us into a character’s head without tricks or a voiceover. This drama from Alex Ross Perry burrows so deep that it’s scary.
  8. Cute, mostly well-mannered and just a bit off-center.
  9. Has a great deal of empathy for that excruciating limbo that is female adolescence.
  10. Director Andrew Dosunmu’s film is big-hearted and rich, frequently using slow motion to underscore an artful intimacy.
  11. That it all seems improvised on the spot (it was not) is testament to the power of a film that trusts its characters, its actors and its ultimate goal.
    • New York Daily News
  12. Harris convincingly creates one "Pollock" after another over the course of the movie.
  13. The intimate history of Doug Block's parents becomes fodder for a broader look at family secrets in this complex documentary.
  14. There’s an introspective quality here, and the gorgeous vistas tilt toward melancholy rather than educational. All on board are curiously resigned to mankind’s death by environment, and take the long view that another life form will one day take our place.
  15. As the story unreels, one can feel the warmth of the writers' and director's hearts for their subject and inspired playing of the cast.
  16. The direct translation of this deliciously devilish film’s Spanish title is “Savage Stories.” That’s a more fitting title.
  17. This terrific, full-meal chronicle of the men and their mouths lets us hear from them not only during debates, but also in subsequent interviews, memoirs and articles.
  18. This movie is not as intricately rewarding as Zhang's others. But because it is so Westernized, it could do even better at the box office. [21 Dec 1995, p.60]
    • New York Daily News
  19. These three films (adapted from David Peace's novels by different directors), each a singularly gripping work, together form a towering and emotionally complex achievement.
  20. Basinger gives one of her best performances as a woman too young, poor and overwhelmed to handle motherhood. And the uncommonly self-assured Murphy proves again that she is a cut above other actresses of her tender years.
  21. Once Were Warriors has more to say than the traditional TV-movie about spousal abuse. But some viewers will have to pay a price: This is a movie that requires strength and fortitude to sit through.
  22. Despite the packed plot adapted by Polanski and Robert Harris from Harris' novel -- the pacing feels oddly slack.
  23. Has the bare necessities, but not much more.
  24. The stories are horrifying, but essential to hear. Kirby Dick’s important documentary puts a personal face to the staggering numbers.
  25. Noah Baumbach’s sensational satirical drama While We’re Young is, finally, a movie for grownups to run out and see.
  26. As insightful as it is entertaining.
  27. If Woodroof is the movie’s guts, Rayon is its heart, and Leto (TV’s “My So-Called Life,” “Alexander”) is stunningly perfect, even when the story veers ever so slightly into expected territory.
  28. Notre Musique is a cry against war and man's inherent needs for tribalism and violence, a position that wouldn't start a good argument in a college cafeteria.
  29. The Cockettes epitomized a brief confluence of new possibilities, not so much in theater as in personal style, lending them a certain historical value that greatly exceeds their contribution to theater.
    • New York Daily News
  30. The striking directorial debut from fashion designer Tom Ford -- is so unusually beautiful it would be easy to dismiss it as superficial.
  31. Feels more respectful than real.
  32. The film is beautifully shot and edited, but these emotional snapshots won't stay long in the memory.
  33. Feuerzeig's film - everything a good documentary should be - is a story of family, friendship, art and fame, as seen through the prisms of exceptional beauty and deepest pain.
  34. The movie creates its own tightening vice grip.
  35. As Elle, Tomlin is Tomlin, which is to say great. Garner’s Sage is whiny, wise and winsome, which is to say an excellent 18-year-old.
  36. Breillat has made an important, even essential work about the exploitation of young women's sexuality, but is not she complicit as well?
    • 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.
  37. Critics are already comparing the two movies and largely agreeing that Tarantino?s story about a psychopathic stuntman who targets women for highway carnage is the best. I disagree.
  38. Smith ("American Movie") sees the poetry in everyday people, and lets his rambling story find its own rhythm.
  39. A gripping, sometimes dramatic, sometimes annoying collection of jerky images and subjective impressions.
  40. Working from his own original screenplay, Crowe builds a story line full of unexpected twists and digressions.
  41. "Songs" is a delight. It's a visual feast and often hilarious.
  42. Marc Silver’s documentary is mostly hands-off in terms of gun politics. There’s no voiceover other than the Greek chorus of talk radio, as footage from the trial is used to document the case. Mixed in are interviews with Davis’ friends and family, plus recorded phone calls from Dunn while he was awaiting a verdict.
  43. Overwhelmingly powerful.
  44. Jackson is terrific, of course, although he's the spice here, not the main meal. As Lysistrata, Teyonah Parris is a fierce, finger-snapping leader while, as her man Chi-Raq, a cast-against-type Nick Cannon, is surprisingly tough and moody.
  45. Calvary is like a philosophical Agatha Christie mystery. That’s certainly not the worst thing to be. But it’s also the film’s undoing, because the reliance on specific genre cliches undermines the movie’s more serious intentions.
  46. As is, the film is more likely to impress the choir than change many minds.
  47. A fast-paced, tongue-in-cheek movie about an engaging foundling.
  48. The movie hits a beautiful, celebratory note.
  49. Still, there is plenty of erotic tension here, as the days drift by and the nights drag on. Kirsten Dunst is terrific as a slightly sad teacher with her own designs on the Yank. And Elle Fanning is a landmine in lace as the school flirt.
  50. 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.
  51. The startling documentary Daughter From Danang cautions once again to be careful what you wish for.
  52. Watching Tuba's proud girls disappear into anonymous clouds of chadors says more than any political diatribe could, and Bani-Etemad is wise enough to know it.
  53. A small but important film about small but important lives, the latest drama from Shane Meadows further confirms that more people should know about this gifted director.
  54. Alche has an amazingly expressive face and becomes such a magnetic presence that you'll feel a distinct need to rescue her.
  55. The movie wouldn’t stand for much of anything without such an effective team to represent the equivocating.
  56. There’s a line between artfully contemplative and just plain boring. This film eventually crosses it into Snoozeville.
  57. The strength of Gray’s movie lies in showing the connection between people in a place without rules.
  58. A small movie that plays like a Western epic.
  59. This movie will spark debate, even with an end title card that reminds audiences of the concept of dramatic license. But as a movie, and not a court document, it is extraordinary.
  60. Steinfeld is brilliantly able to weave together a character who's both typical and yet surprising in her multidimensional emotions that Nadine slowly works through. She's not a cookie-cutter character.
  61. A sweet testament to the power of intelligence to win over adversity - even in a Brooklyn middle school where the majority of students live below the poverty level.
  62. A stand-alone adventure, it’s also a salute to a series, a character and a quietly committed actor.
  63. This is first-rate stuff.
  64. As a sign of how stubborn some irrational religious traditions can be, Hindu protesters forced Mehta to close down her Indian location and finish the film in neighboring Sri Lanka.
  65. A veteran who was in the Allied force trying to drive Germans out of a landmark Italian monastery asks, "What is more important, a great piece of art or a human life?" That it has taken more than 60 years to get this incredible story told answers the question.
  66. It's the rare film, Dogma or otherwise, that keeps you smiling long after the lights come up.
    • New York Daily News
  67. With its colorful embroidery, Monsoon Wedding feels pleasurably grounded in a reality about which most Westerners haven't a clue. This may be their only engraved invitation.
    • New York Daily News
  68. He's not someone you may wish you'd known, but he's a fascinating street character.
  69. Does a meticulous job of summarizing these notorious events, but it is the stories of Liuzzo's five children that gives it fresh emotional power.
  70. There can never be too many stories of human grace and perseverance like those of Nova, or Nate, or Adam, all teens who've been encouraged to channel their resentments and desires into art.
  71. Younger kids looking for the cute connection between hesitant teen Hiccup and his loyal dragon, Toothless, may be stunned by the film’s violent tone. At the same time, it’s the unflinching edge that gives the film its unexpected depth.
  72. Career Girls reaches a little too often and unconvincingly for convenience... But Leigh remains one of the few film makers today to make movies that are solely character-driven, in which personal insight is its own reward. [8 Aug 1997, p.46]
    • New York Daily News
  73. It's hard not to wonder if Press might have offered a similarly impactful portrait in a more concise manner.
  74. This isn't a family -- or a film -- you'll ­easily forget.
  75. A riveting rock documentary.
  76. The notable lack of chemistry between Cruz and Homar is a crucial absence in a film about all-consuming romance. And though each part is great fun to watch, the whole feels unfinished.
  77. An immensely uplifting movie whose final, unforgettable frames come as close as anything to answering the big questions about why we bother in a dog-eat-dog world.
  78. Among the unforgettable images is that of artificial limbs floating to earth on parachutes, while below, one-legged men on crutches race each other to the prizes.
  79. Director Alexandre Moors turns the project into something of an art film, requiring patience for repetitive editing and slow-burn scenes before the movie ultimately works itself under your skin.
  80. Adventureland has the structure of a Tilt-a-Whirl ride: It goes where you expect, and may fill you with dread.
  81. Directors Adam Del Deo and James D. Stern focus primarily on the casting process for the 2006 revival, parading so many personalities past us that we don't really get to know anyone. Bypassing the original for the recreation? That ain't it, kid.
  82. Newcomers may be disappointed by such a slender effort, but fans of revered Iranian director Abbas Kiarostami will find plenty to appreciate in his observant followup to 2010’s acclaimed “Certified Copy.”
  83. Even those who never joined the cult of A Tribe Called Quest will find this clear-eyed chronicle of their career irresistible.
  84. It's got style and charisma to spare, with all the characters acting from fiery reserves of self-interest, including Christopher Plummer as a bank president with a secret in his safe-deposit box.
  85. The real romance here is between the filmmakers and the cultural moment they hope to document. From that perspective, it's a welcome - if not quite award-worthy - valentine.
  86. Assayas may have been inspired by biographical memories, but “Air” is so sensitively observed that it simultaneously evokes a universal, and eternal, state of adolescence as well.
  87. This incredibly moving, touchingly honest and transcendent chronicle of how a handful of people coped after Sept. 11 is not only one of the best distillations of that day, but a monument to humanity lost and gained.
  88. To see an expensive, big-studio movie freed from creative constraints and directorial cynicism is always a rare and wondrous experience. In a season of bloated indulgence, it’s also fair to call it a marvel.
  89. His story, like the current release "A Separation," shows a glimpse inside Iran of everyday reversals of fortune, and how easy it is to get caught in the crosshairs of bureaucracy, bad judgment and bad luck.
  90. Australian director Cate Shortland’s straightforward approach to the blinders worn by Hitler Youth creates a disconcerting and eerie film, made even more memorable since it’s seen through the prism of childhood’s end.
  91. 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.
  92. If you're looking for a bit of an uplift, you could do worse among the gloom of so many holiday dramas.
  93. Deftly weaving double plotlines, gorgeous camera work, and deep compassion, Miike contrasts ritualistic "honor" with the truly honorable, as poor but noble squires face off against powerful lords cushioned by tradition and pride.
  94. The tone remains uneasily divided between lightly realistic character comedy and the darkest, chilliest kind of farce.
  95. An astonishingly intimate and painful coming-of-age story.
  96. Unlike Glenn Ford, a soft-spoken studio star who was cast against type as Wade 50 years ago, Crowe is a perfect fit. Not because of his bad boy behavior offscreen, but because he can blend charm and menace better than anyone.
  97. Much is left undeveloped, from Jane's ghostly anxieties to Rochester's evolving complexity. Wasikowska and Fassbender lack chemistry, and the latter never finds his character's depth.
  98. A lovely film and another impressive calling card for Bayona, who can mix genres in an innovative way like his former producer, Guillermo del Toro. He's created a deeply emotional film about loss that will probably have you crying by film's end.
  99. Even if we can't live his cowboy life, Buck Brannaman's world is well worth visiting.

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