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 Babysitters
    It reads like a Cinemax special event, and as good as Leguizamo and Waterston are, the skeevy, fantasy-fulfillment plot that drives David Ross' movie is uncomfortably risky business.
  2. Sex Drive
    Just slightly funnier than you'd expect, this dashed-off teen comedy cribs from a thousand other movies, without coming up with anything original of its own.
  3. Burlesque
    Sure, sometimes it's fun to be assaulted by sequins, wigs, corsets and retro homage. But Xtina's fans can find all that already - in videos ranging from "Lady Marmalade" to "Ain't No Other Man" - without having to sit through two hours of recycled plots and plastic acting.
    • 76 Metascore
    • 40 Critic Score
    Dead Man's Burden
    Despite visual nods to dozens of classic Westerns, the film cannot break through with its own vision.
  5. Vacation
    After a while, Vacation starts to reek like a car when the kids have their shoes off. Really, though, that stench is a studio digging through its old titles, trying to find something fresh to remake.
  6. Another Happy Day
    It's Barkin, though, who holds everything together, even as her character is falling apart. Whether or not she took this role as a favor - Levinson's father, Barry, directed her in "Diner" decades ago - ultimately seems irrelevant. This isn't an invitation you should feel obliged to accept. But if you decide to stop by, she'll be the reason you stay.
  7. My Amityville Horror
    Lutz, who was a boy when his family fled the Long Island home, is full of belligerence in this chronicle of his family’s alleged run-in with a ghoulish home where a murder had occurred.
  8. Walt & El Grupo
    This slickly packaged bit of Disneyana would probably work best as an attraction at Epcot.
  9. Labor Day
    Heartening, and yet, a year after being filmed, unintentionally aggravating.
    • 70 Metascore
    • 40 Critic Score
    Post Tenebras Lux
    The ending of Carlos Reygadas’ drama is set in a wooded Mexican landscape. That’s where Regadas (“Silent Light”) overdoes everything in a self-indulgent presentation of trite fantasies masked as memories.
  11. And While We Were Here
    Though the film plays like late-era Woody Allen — not necessarily a good thing — and Goldberg’s rambunctiousness is more annoying than liberating, there’s a serious depth of feeling here. Bosworth, thankfully, is attuned to that, and makes the most of it.
  12. In the Blood
    Director John Stockwell (“Blue Crush”) knows how to make the best possible use of his star while adding a strong supporting cast, some pretty scenery and a taut mystery. Stockwell understands most of all that we don’t need Carano to talk; we need her to kick ass.
  13. Freakonomics
    From a consumer perspective, you're better off skipping the movie and putting your money toward their book instead.
  14. American Meat
    There’s a good chunk of info for those eager to know how the sausage gets made, as well as the facts of life and death surrounding what we consume. You just have to pluck the PR feathers and find the good parts.
  15. Solace
    The FBI once again calls upon Anthony Hopkins to help them find a serial killer in Solace. Even though he isn't playing Hannibal Lecter this time, he's still the best thing going for this mostly dull film.
  16. Ferlinghetti: A Rebirth of Wonder
    Sadly, the film gets mired in traditionalism, something the man himself always railed against. But worth a look for seeing intellectual bravery (still) at work.
  17. 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.
  18. You've Been Trumped
    First-time director Anthony Baxter jettisons all pretense of impartiality, without adding any of the intelligent outrage of his evident influence, Michael Moore.
  19. Hit and Run
    Sadly, Hit & Run, for as much sporadic fun and genuine heart it has, runs out of gas. But it's not for lack of trying, and that counts for something.
  20. Ouija
    Cooke, a young Brit seen on TV’s “Bates Motel,” is strong as the diminutive brunette at the center of the interworldly fright-fest. Her charisma is almost enough to keep you from rolling your eyes at the script.
  21. Big Fan
    The movie gets repetitive, and when it calls an audible and goes somewhere unexpected, it pulls back quickly. Too bad.
  22. Thinner
    Holland's direction is functional, as befits the kind of cable fodder Thinner is destined to be.
  23. The Mechanic
    The only bit of machinery that makes the film move is Jason Statham, who's provided the steely saving grace in so many modern action movies.
  24. Seven Days in Utopia
    There's a climactic putt, of course, but by then you wish Duvall would get one more "Tender Mercies" under his belt so you can forget about this tin cup of a family flick.
  25. When the Game Stands Tall
    “Hoosiers” this ain’t. The redemptive final game has some nice plays and bone-crunching sound effects, but no grit. Ultimately, it’s a ho-hum, bromide-filled production undeserving of a victory dance.
  26. Taken 2
    Taken 2 has a plot that could have been written by a GPS program, and contains all the technical charm that conjures up.
  27. Happy Feet Two
    As a low-cost baby-sitter, this high-energy sequel definitely does the trick.
  28. Cosmopolis
    There are plenty of ideas to gnaw on, given that Cronenberg has adapted Don DeLillo's intense novel of a New York on the verge of dystopian breakdown. But frustratingly bland work from lead Robert Pattinson results in an awfully watery stew.
  29. Leaving
    The class issues make them pariahs, the love scenes belong on Cinemax After Dark, and the emotions writer-director Catherine Corsini believes are so adult are clichéd. Still, Scott Thomas is beguiling as usual, the one expected thing that's welcome here
  30. Mother
    Though diligently paced and sharp to look at, the mysteries inside Mother are, finally, bloodless.
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