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. Beautiful People
    Behind the inspired wackiness is a story about how our warlike nature needs some changing before we can all live in relative harmony.
  2. War Photographer
    Nachtwey's pictures tell a tale of grief and suffering, and Frei's you-are-there approach gives those photos startling immediacy.
  3. Sexy Beast
    Noir has never been this bright.
  4. Harvard Beats Yale 29-29
    Rafferty keeps the structure so blandly standard, the title is nearly the most intriguing element of the whole film.
  5. Midnight Cowboy
    Whew! It’s shocking - a horror film but extremely well done by producer Jerome Hellman and John Schlesinger, the British director who uncannily captures the feeling for tragedy in this locale, the forced gaiety of some who have sunk to the lower depths of despair and sympathy for the two disillusioned protagonists.
  6. Dear White People
    Comparisons to Spike Lee’s movies are unavoidable, particularly with a setting that recalls Lee’s “School Daze” and a conclusion that echoes “Do the Right Thing.” But Dear White People is a film of the moment, and an essential one at that.
  7. Broken Flowers
    This is Murray's subtlest performance, and one of his best.
  8. Loving
    It's a tough, understated part to play, and Edgerton does a terrific job.
  9. Silence
    Silence is a slowly unfolding, deeply thoughtful film about questioning yourself. About questioning authority. About taking stock of where you've failed as a human being, and wondering how you can make amends — to yourself, to others, and to God.
  10. I've Loved You So Long
    Scott Thomas breathes more emotion into Juliette's affectless, haunted demeanor than most actors do with pages of dialogue.
  11. The Crash Reel
    What complicates and deepens Crash Reel, though, is that Walker doesn’t simply wag her finger like Mom telling you not to run with scissors.
  12. Moving Midway
    Cheshire refuses to look away, no matter how complicated things get. In fact, it's the tangled, tortured roots that most inspire him, turning this deeply personal film into a potent meditation on our nation's past.
  13. Flags of Our Fathers
    Eastwood's sepia-toned combat scenes are as graphic, if not quite as jolting, as those in "Ryan." And without a Tom Hanks-size star in the cast, "Flags" is not likely to do "Ryan's" blockbuster business. But "Flags," a true story directed by someone with far more faith in the audience's ability to empathize, is the better movie.
  14. Bright Leaves
    This might have come off as both self-indulgent and preachy if McElwee weren't so persuasively earnest. "Bright Leaves" becomes both a mystery and memoir in progress and though the filmmaker does not find the truth he is looking for, it was clearly a quest worth undertaking.
  15. Reprise
    Joachim Trier's energetic, inventive debut takes such a novel approach to well-worn themes that it makes most movies look downright lazy.
  16. The Winslow Boy
    Hell has not yet frozen over, but here's something equally unexpected: David Mamet has made a G-rated movie for adults.
    • New York Daily News
  17. What Time Is It Over There?
    This movie is not of a style that will speak to general audiences. It is nearly wordless, spare to a fare-thee-well.
    • New York Daily News
  18. Look at Me
    This audience-pleaser is smart and acerbic. Jaoui has an uncanny ear - as director, co-writer and part of the inspired ensemble cast - for human foibles, self-deception, celebrity worship and female body issues.
  19. Drive
    For all the movement in Drive, the quiet, deathly still moments are the ones that count.
  20. The Fighter
    By far the most rousing, expertly cast movie this year, David O. Russell's movie takes a roundabout way of telling its true story.
  21. Jodorowsky's Dune
    Given the evidence compiled here by director Frank Pavich, there’s reason to believe Jodorowsky’s “Dune” was more influential for never actually existing. It wound up being inhaled, like some ethereal alien spice, by a generation of moviemakers.
    • 79 Metascore
    • 88 Critic Score
    The Five Obstructions
    A sensational oddity. It sheds light on the creative process, on filmmaking and on the durability of friendship and professional respect despite the odds.
  23. Iron Monkey
    The requisite set piece, which will remind you of the treetop sequence in "Crouching Tiger," involves a fight atop a forest of burning poles, exactly the kind of thing you want in a movie like this.
  24. Godzilla
    The monster's mashing of Tokyo looks as Ed Wood-like as ever, but the film's humanity gives it depth.
  25. The Visitor
    Both director and cast exhibit the dedication of those who truly believe in the message at hand. But with so much earnestness onscreen, the message occasionally gets in the way of the movie itself.
  26. Green Room
    For those who enjoy the goriest of thrillers, there is plenty of red running through Green Room.
  27. Iron Man
    The result is the first comic-book movie in a while that actually feels like a classic comic book: fast, furious and flip. Forget about superheroes with love problems and tortured souls.
  28. Control Room
    If her (Noujaim's) movie teaches us anything, it's that no reality remains unspun.
  29. Only Lovers Left Alive
    This is a movie about the transcendent bond between partners who can communicate without speaking a word, so it’s only fitting that the gorgeous cinematography perfectly captures the movie’s emotional depths.
  30. In a World...
    It’s hard to imagine the lives behind the voices that are part of the movies. But In a World ..., the debut feature from actress-turned-writer-director Lake Bell, not only gives the people who do movie voice-overs a closeup, it savvily and wittily uses what we hear as a metaphor for what we are.
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