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. Where Do We Go Now?
    While the schemes occasionally seem strained, their desperate determination is never less than compelling.
  2. The Guys
    There's an inherent distance between movies and their audiences that -- combined with the distance between 9/11 and today's opening of the film -- The Guys can't bridge.
  3. The Crime of Padre Amaro
    Father Amaro comes off as another pedophile in a frock. You'd have to hose this guy down if he were driving a school bus.
  4. Eat This New York
    An excellent idea that never quite pans out.
  5. Overnight
    It turned out that he (Duffy) had an ego like a giant ChiaPet. With a little money sprinkled over it, it grew out of control.
  6. The Cake Eaters
    This is not, frankly, a movie you'll remember long after you see it. But it has just enough moments of genuine intimacy to indicate that Masterson ought to give directing another try.
  7. The Delta
    The movie then becomes John's story, making an unbelievable leap of psychodrama to do so.
    • New York Daily News
  8. Good Ol' Freda
    Truth is, only hard-core fans of the Fab Four — granted, that’s a lot of people — will find themselves enthralled by this memo-by-memo account of the woman who spent 10 years handling the Liverpool lads’ mail. Others may be only mildly interested.
  9. Jeff Who Lives at Home
    The whole movie is about piecing together broken parts. It may not always come together, but what it makes, if you look at it the right way, is endearing.
  10. Breathe In
    For all the obviousness on the surface, and despite some forced last-act havoc, Breathe In works like a piece of chamber music. It goes up to the edge of emotion, circles it, then backs away. But the notes not hit seem as powerful as the ones that are.
  11. Memoirs of My Nervous Illness
    Mays throws himself into the role of a man who attempts to transform into a woman, but his efforts feel like futile flailings: The actor - and his character - are so much bigger than any story we're allowed to see.
  12. Daybreak
    If you're going to put us through hell, you'd better make it worth our while. Though Daybreak boasts a couple of minor insights and a compelling performance from Pernilla August, only the masochistically inclined will consider them sufficient reward.
  13. American Casino
    The movie's lack of Michael Moore-style dynamism has a dulling effect. What saves it is the human face it puts on the crisis, and its indictment of corporate greed.
  14. Massoud, the Afghan
    A weak documentary. There's very little here to demonstrate the personality and leadership qualities that made Massoud both a legend and a martyr. Raw, sloppily edited, unfocused and without any sense of scale, it's personal journalism with its heart in the right place, and that's about it.
  15. Signs & Wonders
    The best performance is by Rampling. (The) camera hangs on her, knowing that nothing escapes those wise, sad-lidded eyes.
  16. Everybody's Famous!
    A delightful comedic twist on Martin Scorsese's "King of Comedy."
  17. The Importance of Being Earnest
    Written to skewer the upper class of its time, the script is now just a broad joke-fest, clever lines batted back and forth like badminton shuttlecocks.
    • New York Daily News
  18. The Clearing
    Redford has rarely done this kind of intimate drama, effectively a two-character play on the mountain, and he's very convincing. As is Dafoe.
  19. Reconstruction
    This languorous art movie is somewhat like "Memento," with its narrative fragments and memory mixups. It never explains itself, which means that the audience, like the protagonists, must take a leap of faith.
  20. Oranges and Sunshine
    The movie lumbers, and Loach and screenwriter Rona Munro's affectless approach winds up tamping down the movie's good intentions.
  21. The Last Five Years
    In a small theater, it’s easy to feel like you’re a part of the romance unfolding before you. But in the grander scheme of an impersonal cineplex, it’s an uphill climb.
  22. Any Day Now
    Director Travis Fine gives his period details flourish and lets Cumming and Dillahunt create well-rounded characters, but Any Day Now winds up treacly.
  23. Allied
    If you enjoy slightly awkward romance during wartime, Allied is worth a fling.
  24. Fugitive Pieces
    Though much of the film's power is tamped down by the passive storytelling style, Dillane's performance as the adult Jakob is compelling, and Ayelet Zurer is beguiling as Jakob's late-in-life soul mate.
  25. Dredd
    The drug that Ma-Ma trafficks in, Slo-Mo, slows its user's brain to 1% of its normal speed. Dredd unfortunately makes you feel as if you, too, have partaken.
  26. The Adjustment Bureau
    Unfortunately, the fantasy-thriller they're in eventually falls apart, becoming a much sillier, less substantial movie than its lead actors deserve.
  27. The White Countess
    In any case, the movie moves only when she's (Richardson) in the center of it, and her complex performance as a woman balancing her dignity with her survival instincts is one of the year's very best.
  28. American Teacher
    This heartbreaking and essential look into the lives of those who put so much into educating other people's children ought to be seen by anyone concerned about the fate of the public school system, and the nation as a whole.
  29. Notorious
    Layering his film with the songs that made his subject an icon, Tillman is aware that Biggie connected with his audience because he told stories others instantly understood. Notorious does that, too.
  30. Great Expectations
    Director Mike Newell’s rich take on the story is a fine introduction for new viewers.
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