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. A flawed but highly entertaining B Western blown up to John Ford scale.
  2. While it's not quite as satisfying as Chabrol's underappreciated "Merci pour le chocolat" (2000), it's still nasty fun at the expense of the upper middle class.
  3. Earnest but ambling drama.
  4. He's (Clooney) got the makings of a great movie here: one that represents our politically surreal times with keen insight and appropriate cynicism. It's only when he veers off the path, suddenly worried he'll lose our attention, that he falters.
  5. Polley, the paraplegic incest victim in Atom Egoyan's "The Sweet Hereafter," gives a mesmerizing central performance.
  6. The framing sequences with Downey and the climactic scenes between father and son are a mess. Downey, at 41, is too old to be playing a character who can be no more than 31 or 32, and 50-year-old Eric Roberts is an even greater distraction as Montiel's imprisoned friend Antonio.
  7. As documentaries go, Watermarks is nothing special. But the women who inhabit it are sensational.
  8. There are so many balls in the air in the cheerfully violent Lock, Stock and Two Smoking Barrels, you'll want to wear a helmet for fear they'll all come crashing down.
    • New York Daily News
  9. Flow makes you thirsty for more information.
  10. Lerman is suited to the title role in that he plays Charlie as wide-eyed and rather unmemorable. Watson doesn't seem entirely relaxed as an American teen, though she does serve as a lovely first crush. Among the adults making brief but notable appearances is Paul Rudd, as a sympathetic English teacher.
  11. The movie can’t decide if it’s a drama about homophobia, a horror-tinged thriller or psychological surrealism. The cross-pollination makes for some nice-looking scenes. Ultimately, though, there’s a crop failure.
  12. The script, co-written by Bouchareb, is regrettably simplistic. But Blethyn and Kouyaté inhabit and expand the film's earnestly instructive intentions, leaving us with a deeply-felt experience rather than a naively-sketched lesson.
  13. With a soundtrack that ranges from classical to jazz to bluegrass, this is not only an obvious choice for ­music lovers, but required viewing for anyone interested in the mysteries of creative inspiration.
  14. It is both inside-baseball and self-parody, exposing a world that is just as ruthless and shallow as we've been shown it is in films like "The Player" and "Permanent Midnight."
  15. Sometimes veers off into preciosity. But it offers something rare in the bond between Andrew and Sam.
  16. More than just a morality tale, The Green Prince is a thrill-a-minute spy caper too strange to be real, though it is.
  17. Overly reverent but still immensely touching.
  18. The real problem is that this eager-to-please debut never quite achieves its own, more modest ambitions.
  19. With no adults to add melodrama, the sweet Water Lilies depends on the emotion in its young performers' faces to move forward.
  20. Krause is very nearly too passive. Deadpan is one thing, an empty vessel is another.
  21. The power of this plot comes from the drudgery of daily existence, not shocking revelations or dramatic encounters. Some stories, Teixeira is wise enough to realize, are best left unadorned.
    • 67 Metascore
    • 80 Critic Score
    Furious 7 never even pretends to be a stand-alone movie. This is a fan event through and through, filled with references, inside jokes and a loyalty to continuity that may baffle newcomers.
  22. This is a very tender portrayal of young people caught up in a blisteringly fast and cynical world, and though their music is hideous, they are a compelling act.
  23. Danielle Macdonald is irresistible as Patti Cake$, a dreamer with ambition and talent and visions so glorious, liberating and uplifting that they make her walk on air. The final moments were euphoric enough to make me float out of the theater.
  24. It takes a while for Frank Oz's ensemble black comedy Death at a Funeral to hit its deliriously nutty stride. But when it does, the laughs don't stop until the movie, like the subject of its family get-together, has taken its last breath.
  25. This is an important New York story, and Spaisman makes an inspiring subject.
    • 67 Metascore
    • 60 Critic Score
    The second "volume" of the open-ended franchise is simply not as charming as the original.
  26. Whether accurate or not, it's certainly entertaining to watch regal intrigues through the eyes of lady-in-waiting Sidonie (Léa Seydoux). That Jacquot handles the action so lightly is a credit, considering that it takes place during some of the tensest moments of the French Revolution.
  27. Such a unique personality really deserves a more interesting tribute, but it's so nice to see this one-of-a-kind nonagenarian still going strong.
  28. Quiet moments after big decisions are where the power lies in this absorbing French drama.

Top Trailers