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. It's a sly little fable with at least six very obvious homages to Alfred Hitchcock thrillers, and a dark little heart that happily hides under a double-breasted suit.
  2. Bednarczyk's natural instincts put most programmed Hollywood moppets to shame, and the quietly affecting O'Keefe shows genuine talent.
  3. Given that his subjects are so inspiring, surely Levy could have spiced up his storytelling with a bit more creativity.
  4. Despite their efforts to address most sides of this complex story, each new interview leaves us wanting to know even more. Of course, that's the sign of a compelling film - but in this case, not an altogether satisfying one.
  5. Just like the movies it parodies, this one feels over long before it's actually done.
  6. George Bush supporters may think this dissection of the President's narrow and decisive 2004 election victory in Ohio is better than sex. But Democrats and Bush voters who have come to rue the day are more likely to compare it to losing the World Series on a seventh-game walkoff home run.
  7. Philip Roth turns 80 next week, and what better way to celebrate than to serve as the hero of his own story? It’s too bad, though, that this dully conventional biography doesn’t do justice to its subject.
  8. This documentary is basically a glamorized DVD extra, but it entertains as it details the anecdote-rich production history of “Night of the Living Dead” and, most crucially, its enormous impact.
  9. By the end, you may not know whether you've seen a ghost story or a story of delusional obsession, but you'll have had a great time.
  10. The homoerotic relationship between Friedrich and Albrecht is stopped short by tragedy, but the point is made - to Friedrich and the audience - that fascism has no room for humanity.
  11. Ouija: Origin of Evil offers some easy scares and cheesy fun, but if nothing else, it gets points for not losing sight of its characters amidst those scares.
  12. A singularly full-hearted and moving film.
  13. It's a fanciful tale, but the message is sweet - that the higher arts speak a universal language that transcends politics and ignorance.
  14. Director Oliver Schmitz's rhythms take a while to ease into, and admittedly, there is never a bright moment.
  15. If the movie doesn't ultimately transport us to places The Wizard of Oz once took us, that may be partly because "The Sorcerer's Stone" is just the first chapter, with more magic waiting to be parceled out in the coming years.
  16. The opera's story -- about a Chinese princess who rejects all her suitors -- is never even fully explained.
  17. A no-frills, homespun documentary that gives so much more than its humble technical credits would suggest.
  18. What it offers are dozens of intimate moments that feel so true, they achieve a rare kind of grace. This sensitive indie drama was written and directed by brothers - and first-time feature filmmakers.
  19. It's the subject himself, still brimming with passion in his 80s, who provides the most inspiring moments.
  20. Despite four very strong performances, Closer is hard emotional work to sit through. It's impossible to empathize with either the viciously insecure Larry or the unscrupulous, childlike Dan.
  21. Made for $1 million, its production values are raw and Nicholas makes at least one too many obvious choices himself. But its very rawness adds to its creepiness and keeps us in suspense in ways most studio movies don't.
  22. As seen in Charlie Victor Romeo (code for “Cockpit Voice Recorder”), the events are almost unbearably gripping.
  23. What Haggis obviously wants to explore is what the war in Iraq is doing to the humanity of our soldiers there. By approaching it indirectly, he simplifies it to a degree that I expect will anger many Iraq veterans.
  24. Despite some early whispers of awards potential, The Debt is nothing more than a gritty thriller with a highbrow pedigree.
  25. Mildly entertaining trifle.
  26. In a movie theater, at least, there are other people to hear you laugh, and the film of MST3K already seems a more communal, less onanistic experience.
  27. It’s hard to fault a movie like The Good Lie for its intentions. But it can be faulted for pandering, both to its subject and to audiences.
  28. Lovett's history is heavy on hedonism, but he does deliver a succinct perspective on this celebratory era - between the sad bookends of repression and loss.
  29. The three young actors are good, but the movie is held together from beginning to end by another riveting performance from Washington. Few actors can dominate a film with their diction as well as Washington, and the role of the erudite, passionate Mel Tolson gives him plenty of opportunity.
  30. Bernstein blunts the inherent tension by zipping everything along at the pace of a snail with a sore foot. Still, Montenegro does wonders in her long silences, and makes her love scene with the eager 72-year-old Cortez look like a hookup at Club Med.

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