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. Extreme Measures
    Sarah Jessica Parker makes an unflatteringly tense appearances as a nurse who knows more than she's telling, and David Morse dredges up his hulking soulfulness as a maverick FBI agent. But no one involved in "Extreme Measures" is displaying a commitment beyond showing up for work. [27 Sept 1996, p.42]
    • New York Daily News
  2. Scream 4
    After a promising start that uses Anna Paquin and Kristen Bell to perfection, they settle into their old stomping grounds as if they'd never left - and that turns out to be a letdown.
  3. Beautiful Boy
    Actors are left with too much time to play emotional symphonies, while inevitably having to hit too many required notes.
  4. A Touch of Spice
    Don't expect to taste anything surprising.
  5. The Edge of Love
    The Edge of Love may be intended as a biopic of Welsh poet Dylan Thomas, but it’s destined to be remembered as the movie that brought Keira Knightley and Sienna Miller into the same bathtub.
  6. Predators
    Predators tries to spice up the hunt-or-be-hunted thesis, but from the get-go, director Nimrod Antal's movie has nowhere to run.
  7. The Front Line
    While its tone and humanity offset the futility of each side's need for one crucial hill, much of this intense, honorable film is too drawn-out.
  8. Medicine for Melancholy
    Cenac is witty and Heggins has a wary stillness, but the movie itself seems too shy to let them really engage each other.
  9. John Rabe
    Proudly matter-of-fact but, sadly, far from gripping.
  10. Love Etc.
    With all of the city available, she made the curious choice to follow couples who are neither unique nor especially memorable.
  11. Still Mine
    If last year’s searing old-age tragedy, “Amour” — or 2006’s bravely blunt “Away From Her” — weren’t digestible enough for you, perhaps this mild romance will suffice.
  12. Tetro
    Despite the overwrought plot and unabashed pretension, there's something admirable about the fact that Coppola clearly made this movie for himself. But he shouldn't be surprised if few others join him in watching it.
  13. Child of God
    It’s McCarthy’s complex use of language, rather than the plot’s grueling imagery, that elevate the book. There’s simply not enough insight here to make the punishment worthwhile.
  14. Bad Boys
    The plot line quickly becomes incomprehensible, and the movie, directed in sleek music-video style by Michael Bay, comes to suggest a very long night on Fox-TV. [7 April 1995, p.56]
    • New York Daily News
  15. The Color of Time
    Franco himself is ponderous playing Williams, which tends to overwhelm everything. A cool concept, and A for effort.
  16. Adult Beginners
    The not-funny-enough dialogue can’t mask writer Kroll’s unoriginal plot.
    • 68 Metascore
    • 40 Critic Score
    The Shining
    The opening scene of The Shining is along a narrow mountain road while the “Dies Irae” plays ominously on the soundtrack. The camera veers out away from the car toward the horizon as if to bear down on something significant… and then comes back to the car. The movement is a sort of portent for the direction of the movie, which takes two and a half hours to go nowhere.
  18. War Story
    An excellent Keener commits reliably to the role and does give us moments worth savoring. But the underwritten script and misguided direction leave her stranded.
  19. House at the End of the Street
    We will simply be grateful she (Lawrence) is here, and thus able to turn generic junk into mildly interesting junk.
  20. No Escape
    There’s no fleeing the clunkiness in No Escape.
  21. Tomboy
    Its young heroine is proud to be herself; there's just not much for her to do beyond that.
  22. The Art of the Steal
    Director Jonathan Sobol clearly understands the first rule of a good grift: misdirection. He packs his middling caper flick with so many known faces, it’s easy to miss all the other familiarities.
  23. Hall Pass
    Ever catch yourself thinking, "Man, I wish beer commercials lasted just 104 minutes longer"? The Farrelly brothers are ready to make your dreams come true.
    • 44 Metascore
    • 40 Critic Score
    This Is Where I Leave You
    They say any group is only as strong as its weakest link. Well, the weak link in This Is Where I Leave You is the film in which the appealing cast members are stuck.
  25. Ex-Girlfriends
    Even taken on its own, this story of Graham (Poe), a single New Yorker feeling his way toward adulthood, feels like a promising college project that wasn't ready for the real world.
  26. Answers to Nothing
    Apparently, it takes a village - or the collection of villages known as Los Angeles - to go nowhere slowly.
  27. The Dukes
    About the kinds of showbiz hangers-on seen in the background of a Scorsese movie, and it feels like those guys decided they were the real stars.
  28. Starbuck
    A high-concept goof that’s hard-pressed to surmount its twee preposterousness.
  29. Home
    Jim Parsons is the sole bright spot in the cast as the alien hero, giving him the same halting confusion as he gives Sheldon on “The Big Bang Theory.”
  30. The Last Ride
    Thomas offers particularly fine work, but the underwritten script, which relies too much on sentimentality, gives him little to do.
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