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. Texas Chainsaw 3D
    Texas Chainsaw 3D sees itself as over-the-top and knowing, but what we ultimately get is simply eyes without a face.
  2. Black Rock
    Black Rock is as dingy and dirty as the genre thrillers it appears to want to one-up. All it does, though, is bring everyone down.
  3. Refuge
    Jessica Goldberg’s sluggish directorial debut feels like a leftover from the 1990s, when dank indie dramas littered film-festival lineups.
  4. The Face of an Angel
    How do you make one of the decade’s most sensational crimes boring? It’s an odd trick, but director Michael Winterbottom manages it in The Face of an Angel, a stubbornly dull retelling of the famous Italian case.
  5. Absence
    What starts as a creepy, original conceit — mysterious Caesarean-section abductions during hospital stays — devolves quickly into standard talk-to-the-camera, jump-at-the-sounds, found-footage banality.
    • 53 Metascore
    • 20 Critic Score
    Dog Eat Dog
    Movie fans might be better off watching a dog actually munch on another dog. Paul Schrader's latest action drama is downright awful.
  7. The Thorn in the Heart
    The connection they share is clear; the reason we're invited to sit in is foggy at best.
  8. Steel
    The film is slow-moving, overlong and never more ambitious than a TV feature, though younger kids will probably respond to O'Neal's amiability. [16 Aug 1997, p.24]
    • New York Daily News
  9. The Reunion
    The only real reason to see this movie is to show unwavering loyalty to Cena. And even so, he'll never know if you wait to watch it on cable for free.
  10. Extraterrestrial
    Most of this dull movie is played straight. But as a local UFO nut, genre stalwart Michael Ironside (“Scanners,” “Starship Troopers”) provides solid comic relief. He feels dropped in from another movie. Or another galaxy.
  11. Serious Moonlight
    It's also suffocatingly stagy, especially when the husband's new love (Kristen Bell) and a violent thief (Justin Long) show up.
  12. What We Did on Our Holiday
    “Holiday” is more palatable than similar, American-bred films like “The Family Stone” or This is Where I Leave You. Still, once Connolly’s sad-eyed, hippie-ish cancer sufferer is gone, there’s little reason to keep going.
  13. 21 and Over
    How ironic (depressing? predictable?) that the week after we celebrate the best in movies, we are force-fed its very worst. 21 & Over is filmmaking by formula, and evidence of Hollywood’s assumption that appealing to viewers’ basest instincts will always pay off.
  14. A Cat in Paris
    The charmless but harmless A Cat in Paris hits theaters yet doesn't enchant.
  15. Strangerland
    The brooding and emotional prickliness gets overwhelming. Kidman tries her best to flesh out her character, but writer-director Kim Farrant gives this still-undervalued actress little to do.
    • 30 Metascore
    • 20 Critic Score
    The Gallows
    Sorry, but this kind of high-school horror was old when Jamie Lee Curtis was young. All the ugly, shaky, night-vision camerawork in the world will not make it seem fresh. Or remotely scary.
    • 37 Metascore
    • 20 Critic Score
    Annabelle
    Wallis is commendably restrained and Alfre Woodard adds class as Mia’s wise ally. But Annabelle is a vortex of visual clichés beyond rescue.
  18. The Tortured
    It's bluntly written, poorly shot and edited, and cruel without being clever.
  19. No Strings Attached
    On the bright side, Ivan Reitman's disappointing new comedy isn't just cheap and formulaic, but so forgettable few people will even remember she (Portman) was in it.
    • 5 Metascore
    • 20 Critic Score
    The Human Centipede III (Final Sequence)
    Neither Scary nor eye-rollingly fun, The Human Centipede 3 (Final Sequence) is the dullest entry in an atrocious trilogy.
  21. Stung
    Director Benni Diez tries for schlock shocks in this giant-bug flick. Sadly, what’s left out here is the fun.
  22. Lovesick
    Both LeBlanc and Larter glide through the synthetic setup like pros, but they have no connection because their characters barely resemble human beings.
  23. Welcome to the Punch
    Unfortunately, the rest of writer-director Eran Creevy’s film just shows that the Brits, too, make good-looking but empty thrillers, just like in Hollywood.
  24. Lockout
    Directors James Mather and Stephen St. Leger stage a few good action set pieces, but unlike the 1981 midnight movie classic it imitates, the blandly titled Lockout never busts out of its cheesy concept.
  25. Self/less
    Laughable/Bad
  26. The Trouble with Romance
    Ever fast-forward through a late-night cable romance just to get to the good parts? This amateurish relationship dramedy features all the stuff you'd skip, and nothing else.
  27. Murder of a Cat
    This is a perfect example of the kind of indie movie J.K. Simmons will hopefully never have to do again if he wins an Oscar for “Whiplash.”
  28. Gummo
    Virtually plotless, the movie does its best to be offensive, but not in the service of any particular theme. The use of mentally impaired youngsters as actors is cheap and exploitative. You can only wonder about the emperor's new clothes, and how much Hollywood paid for them. [17 Oct. 1997, p.52]
    • New York Daily News
  29. Arthur
    This Arthur is missing a soul.
  30. Antichrist
    Von Trier ("Breaking the Waves," "Dogville") has no barriers, which absolutely can be a good thing. Here, though, his uninhibited nature is an omen of the pretentious butchery to come.
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