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. Jump Tomorrow
    An enjoyable trip, as long as you don't mind traveling light.
  2. De-Lovely
    There are terrific performances from Kline and Judd, some breathtaking staging and production design, and, of course, some of the best music and lyrics of the 20th century.
  3. Hamlet
    As for Scott, his rather wry interpretation is competent, but neither daring nor insightful enough to arouse any great passion.
  4. Unleashed
    Unleashed serves two masters, each one disappointingly: It's a brutal series of over-amped fights, and it's a touching story of human nature at war with itself.
  5. Revolution #9
    McCann's point of view overwhelms the human elements of his story, but this is, nonetheless, a riveting piece of filmmaking.
  6. Cure
    Kurosawa may be considered the genius, but his movie would go nowhere without its extraordinary leading man.
  7. Private Fears in Public Places
    The film is beautifully shot and edited, but these emotional snapshots won't stay long in the memory.
  8. Possession
    What Possession reminds us more than anything is that love is more exotic at the safe remove of history. The irony is that LaBute is more at home chronicling the present, yet that's where this movie falls apart.
  9. Lucía, Lucía
    The attempt to make this intimate movie more exciting is misguided; we can find plenty of manufactured thrills at the multiplex. What's wrong with a little quiet, old-fashioned charm?
  10. Basic Instinct 2
    BI2 is packed with as much lust, nudity and sexual depravity as the first. So, why isn't it as much fun? What's lost in any sequel is the freshness of the first film, and was "BI1" ever fresh!
  11. Candy
    Because although there are some very striking moments in Neil Armfield's debut, there are simply not enough to keep us absorbed the way a movie should.
  12. Underdog
    Made for viewers old enough to appreciate a talking pooch but too young to read or write about it.
  13. Noi the Albino
    The laconic Lemarquis does a solid job carrying off Kári's dryly mordant wit, making this eccentric story well worth watching.
  14. The Blood of My Brother
    This at-times harrowing, occasionally unfocused film is a case study of one of hundreds, if not thousands, of stories of Iraqi civilians to whom the war has hit home and left holes in families. It makes you rue the most indelicate of all combat euphemisms - "collateral damage."
  15. Princess Mononoke
    A thing of beauty and imagination.
  16. Duck
    The thin, whimsical story is really better suited to a short film, but Hall deserves a lot of credit for carrying off such unusual material.
  17. The Bread, My Sweet
    Cynics need not show up, but if you're looking for a feel-good fairy tale, this one's certainly sweet enough to satisfy.
  18. One Swallow Brought Spring
    Moves as slowly and deliberately as it sounds, but Seigner and Serrault are extremely effective in roles often requiring them to work alone, or together in loaded but wordless exchanges.
  19. Campfire
    A good movie that could have been better, Joseph Cedar's sensitive Israeli drama falters when he trades sociological observations for political ones.
  20. The Man Who Bought Mustique
    Funny, yet appalling.
  21. Sleepy Hollow
    A feast of imagery.
  22. 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.
  23. Piglet's Big Movie
    Built on the most basic (though quite charming) animation, songs and plots, the film does have an inescapably straight-to-video feel.
  24. The Aviator
    A lush, panoramic, dizzyingly portrait of the many-tentacled entrepreneur Howard Hughes. Unfortunately, though it may finally gain an Oscar for director Martin Scorsese, it is not his best work. The movie is disappointingly flat.
  25. Hard Goodbyes: My Father
    Panayotopoulou does handle the material with sensitivity, but she relies too much on her young hero's unlikely precocity, which unwittingly diminishes the intensity of a child's very real grief.
  26. Chain
    Thought-provoking, but not quite as profound as it pretends to be.
  27. Look Both Ways
    Best of all is newcomer Justine Clarke playing a dour illustrator. Clarke's fascinating features register emotions at war, but always governed by a sense of self-deprecating humor.
  28. The Keeper: The Legend of Omar Khayyam
    The time-traveling is a little awkward, and a mawkish turn of events feels forced and unnecessary.
  29. Nacho Libre
    The sweetness of Nacho's nature, along with Black's unselfconscious physical enthusiasm, turn all this into a live-action cartoon, with the ring violence having no greater consequence than a Wile E. Coyote fall from a high place.
  30. Love Liza
    It's a great performance that's a horror to watch. Of all the bleak year-end movies, Love Liza is the bleakest; of all the sad characters you've seen lately, Hoffman's Wilson Joel is the saddest. And he goes home with you.
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