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. Julian Jarrold's cheerful, utterly predictable crowd-pleaser affirms that, according to many recent films out of Britain, there's a quirky interest to cure whatever ails you.
  2. With few laughs and no real poignancy, the movie's success rests squarely on Adam's oft-naked shoulders.
  3. Here's what Crossroads does not have: Cohesive direction from Tamra Davis, intelligent dialogue, a comprehensible plot.
  4. The whole nutty crew finds it rollicking good fun to see themselves lampooned. But there is an unmistakable sorrow behind the humor.
  5. After an hour of red herrings, in which Jill investigates creepy corridors or opens rattling closet doors with no results, the only real danger is that we'll become bored to death. For real thrills, rent the original, turn down the lights and scare yourself silly.
  6. Features some of the year's most beautiful scenery and two of its most wooden characters.
  7. Star-packed fiasco.
  8. Family gatherings in the movies are shorthand for brutal trips down mine-strewn memory lanes. The Sisters doesn't disappoint in that regard.
  9. The hand-held camera work gives the film an effective documentary pulse, but it adds up to only half a movie.
  10. A curse would be a great improvement on the wishy-washy wickedness of this movie.
  11. What might have read as a dense allegory comparing the rituals of the super-rich with the tribal customs of the violent Ishkanani tribe in the Amazon becomes a tedious, over-ripe soap opera on screen.
  12. While the series is smart enough to have inspired an army of adult fans, too little of its droll intelligence is on view here. Instead, the film feels like a rote effort made for some quick box-office bucks.
    • New York Daily News
  13. Director Ava DuVernay’s version of the beloved children’s classic has a big cast and the best of intentions. It’s socially progressive, racially diverse and packed with positive messages. It’s just not much fun.
  14. Like the homeless kids at its center, Alison Murray's feature debut is passionate, angry and suffering from a serious lack of discipline.
  15. After a fiendish start, filmmakers James Wong and Glen Morgan approach their task with all the subtlety of a hammer to the head (or a knife to the gut, or an ax to the back). They do, at least, find a mordant humor in the formula.
  16. There are two movies vying to occupy the same space here: a teen comedy about artistic pretension and academic double standards, and a darker, nastier movie about a serial killer. They share Zwigoff's trademark misanthropy, but it doesn't delight as it did in the perversely sweet "Bad Santa." Now it just feels mean.
  17. Has something going for it that you wouldn't expect from the tired mechanics of the story — and that is the star-making appearance of 15-year-old rapper Shad Moss, who goes by the name Lil' Bow Wow.
    • New York Daily News
  18. 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.
  19. There's only so much meaningful interplay you can get out of a beachful of slackers and some tanning oil.
  20. What they say, mostly over black-and-white stills from his early career and meandering footage of desolate Mali, could be said in 10 minutes. The good news is that much of the remaining documentary is devoted to Kar Kar's elegant voice and exquisite guitar playing.
  21. So after about an hour of watching four children eat, bathe and crawl, you might start to wonder why you've paid to see somebody else's home movies.
    • 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.
  22. An "American Pie" wanna-be that, in trying to be as tasteless as possible, sometimes succeeds.
  23. Under different direction, Orange County might have drawn a savvy cult audience that would appreciate the black-comedy possibilities of Shaun's idolatry of a certain writing professor (Kline), the homoerotic overtones inherent in best-buddydom and pyromania as a sexual turn-on.
  24. Wilson, Brody and Schwartzman have their charms, but the script gives them little to work with. Anderson and his co-writers have come up with an ordinary road movie.
  25. A by-the-numbers, let's-put-on-a-show quasi-musical that has absolutely nothing going for it, except Alba.
  26. There are some genuinely funny moments amid the gore, but who knew this famously edgy director would find bathroom humor to be such a knee-slapper?
  27. In Mean Machine, soccer is pretty much an excuse to watch a bunch of grown men smashing their heads together. Which, come to think of it, may be enough.
  28. Hasn't a single original idea in its bird brain. But it clowns around just enough while sitting in the dunce chair that after a while it's mildly amusing.
  29. Jelski's dialogue is razor sharp and she got a terrific performance from the relatively inexperienced Gummersall, who runs a gamut of emotions and holds the screen like a seasoned star.

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