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. Stay through to the end credits, where the two child protagonists (Sabara and Vega) are shown as they were then and as they are now. Rodriguez's best achievement is in spotting the innate talent that would shine through in those two kids.
  2. The intriguing elements never quite coalesce into a consequential whole; we leave this yuppie nightmare feeling both unsettled and unsatisfied.
    • New York Daily News
  3. Cinephiles and Billy Wilder fans get a rare opportunity to see the "slightly dirtier" European ending to the director's 1964 sex farce.
  4. More amiably mindless summer distraction than just about anything Hollywood has to offer this season.
  5. Linney hits a single note for her uptight character, while Walters travels the scale indiscriminately. Her outsized eccentric darts from amusing to grating. Only Grint is just right, as the boy they, and the film, can't do without.
  6. Though Harden has the showier role, a subdued Pantoliano is the movie's real star. Sometimes, the quietest performances are the most powerful.
  7. Half a barrel of laughs. The other half is made of slime.
  8. Despite several attempts, we're still waiting for the drama that convincingly captures the experienc of soldiers who've fought in Iraq. Stop-Loss" isn't that film, but at the very least its efforts are honorable.
  9. Like the average best-man toast, Debbie Isitt's amiable mockumentary has many funny moments, a few touching ones and some that fall just slightly flat.
  10. Surprisingly sweet and smart... LaBeouf does an excellent job, and the talented Beeney is one to watch.
  11. There’s no questioning the sincerity of the filmmakers or the urgency of the subject matter, but the clumsiness with which this harrowing story of a child soldier in Africa may wear you out long before the puzzle is put together.
  12. The best part is during the closing credits. Dustin Hoffman does a brilliant, dead-on impression of Evans that captures the essence of the man more than all the self-serving grandiosity that preceded it.
  13. Good or bad, it's either a must-see in your house, or not even on the radar screen.
  14. Even Isabelle Huppert Lite is more profound than the best work of most other actresses.
  15. The movie crams in so many of the events and characters of Thack­eray's 900-page novel that the story often seems to be moving on fast-forward, pausing here and there to introduce a character, then skipping ahead — from London to the country to Brussels and on, eventually, to India.
  16. Both Tatum and Dewan know how to move, and their co-stars (including musicians Mario and Drew Sidora) are equally gifted.
  17. Doesn't flinch from the serious stuff.
  18. A temple of enlightenment posing as a movie.
  19. Treats the poets not as creative equals but as a groundbreaking genius and a jealous, vindictive hack. Wordsworth is Salieri to Coleridge's Mozart.
  20. There are plenty of chuckles at the expense of Dr. Phil, Shaquille O'Neal, Carmen Electra, Charlie Sheen and series stalwart Leslie Nielsen. But with no comic carryover from one skit to the next, true belly laughs are few and far between.
  21. Most interesting are the founding mothers and fathers of this movement, who first appear amusingly nostalgic and eventually grow exceptionally bitter as they complain about the packaged and ambitious nature of artists today.
  22. Among the unforgettable images is that of artificial limbs floating to earth on parachutes, while below, one-legged men on crutches race each other to the prizes.
  23. Proyas creates an engaging, high-octane energy, boosted by an up-for-anything cast.
  24. Even aside from the metaphorical aspect, this may be the first movie to give a precise sense of what drives people who self-mutilate.
  25. Movie love is usually so idealized it ennobles behavior that ordinarily would be considered stalking. Enduring Love deliberately smudges the line between what is bizarre and what is simply human nature.
  26. The cottage industry of the mockumentary has produced another pleasing trifle, the cute and smart Lisa Picard Is Famous.
  27. It's not the best of von Trier, but the movie is shot in an unforgettable, haunting style that evokes both Bergman and the silent era.
  28. Surely no other has done it quite like this group.
  29. Characters do little more than run around the same track incessantly, leaving us waiting for revelations that never arrive.
  30. Occasionally exhilarating documentary.

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