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. Neeson's better than this. You can't watch him here without thinking, Geez, every fight-choreography session could have funded "Love, Actually." This bash-the-door-down action scene likely took as long to film as "Kinsey." That gunfight required more stunts than all of "Schindler's List."
  2. Words and Pictures doesn’t get the dunce-cap award, but it does lose points for feeling phony and contrived — especially during the moments when it appears overly proud of what it is.
  3. Jig
    Director Sue Bourne belabors the judges' final decision to such an excruciating length, it makes the whole movie feel a bit more cloddish than it should.
  4. Something has surely gone wrong when there is not a single moment in Ice Age: Continental Drift that equals the four-minute "Simpsons" short that precedes it.
  5. "Grace" may be based on a true story, but barely a moment in it feels real.
    • 51 Metascore
    • 40 Critic Score
    The real stunner of Worlds Away is how it could afford to use so many Beatles songs.
  6. The story and performances (save for Matthew McNulty’s angry Luis Buñuel) are paint-by-numbers, with social upheaval and sexual adventurism as dramatic as an after-dinner mint.
    • 41 Metascore
    • 40 Critic Score
    Chappie is as subtle as a sledgehammer. The latest sci-fi action spectacle from “District 9” and “Elysium” director Neill Blomkamp is also sprawling, bombastic, deafening, ugly and ultra-violent.
  7. All the actresses, especially Theron, are appropriately haunted, but let's hope Arriaga's love of echoes, fate and coincidence has run its mopey course.
  8. What remains rote is how easily the fiend’s victims fall for his tricks. It’s almost as if they’ve seen too many movies like The Barber, and shaved away all common sense.
  9. Earth to Echo is a copy of a copy. The movie feels less like a weak “E.T.” than a substandard “Mac and Me.” And you may not even remember the latter, a 1988 flop — the fate likely to hit this well-meaning but underwhelming effort.
  10. You know what you’re going to get, and that is, indeed, what Sandler delivers. It’s juvenile, it’s obvious and it’s crass. But with Sandler at the helm, at least it’s as easy to like as it is to forget.
  11. It's a shame, of course, that Madden brought the best to such an exotic Top locale without making the most of the opportunity.
  12. This sequel to last year’s surprise buzz-maker takes the same appreciative approach to scare-flick tradition: Take hipsters, mix into classic genre riff, goose until ludicrous; repeat. Not every try is successful, but as with any anthology, if you don’t like one, sit back and wait for the next.
  13. It's hard to talk about The Soloist without falling into cliches, because this well-meaning but ham-handed drama is full them.
  14. Once Quale and writer John Swetnam get their generic setup out of the way, they can loosen up and treat the tornadoes like the villains they are. The effectively simulated storms, with their massive wreckage, start to feel like monsters stalking the heroes.
  15. Crisply directed but inescapably pious and, worse, narratively poky.
  16. Faour and Muallen give solid performances, but there are a few too many by-the-numbers moments.
  17. Along with Moore, all of them deserve some kind of credit for committing to a movie barely six souls will ever even see.
  18. Blood Wars concludes with the threat of further sequels, but this is clearly one franchise that's been fully drained of its blood.
  19. While Diaz and Kutcher make their clichéd characters as likable as possible, you can bet on this: Any movie named after an already-stale ad campaign isn't likely to gamble on the unexpected.
  20. Unabashedly one-sided, this biography of Chávez - and several other Latin American politicians - does raise some valid concerns about what Stone calls the "manipulative power of the media." So it's too bad he's as guilty of partisanship as the right-wing outlets he reviles.
  21. In Keeping up with the Joneses, I was unable to focus on Hamm's comedic efforts, so interested was I in the ever-changing cinematography of his slick black hairstyle.
  22. It's a big fat missed opportunity.
  23. Tolan writes regularly for smart shows like "Rescue Me," but his best instincts deserted him when he set his sights on the big screen for the first time.
  24. If you go in knowing what you're getting, you should come out relatively satisfied. Our hero vigorously beats up a parade of bad guys. Lots of bullets fly. There are a couple of decently plotted thefts. And to tell the truth, Statham's Southern accent is nearly worth the price of admission itself.
  25. This contemplative drama draws strength from day-to-day ordinariness and a terrific lead performance from Paul Eenhoorn, yet sadly falls short.
  26. It's all angst and no adventure, a lot of fury and little fun.
  27. Mostly, though, you'll appreciate Grenier, who approaches this minor project with hilarious and generous abandon.
  28. The cast gives it all a good go, and pip-pip and all that for noticeable intelligence and a bit of the old British satire. Yet Salmon Fishing takes patience and rewards with no bite.

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