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 masterful collection of cinematic essays.
  2. Every action scene is a spectacularly choreographed set piece. At one point, Jaa literally fights with feet of fire. Unfortunately, whenever he comes down to earth, so does the movie.
  3. Good, clean fun, and the view is fabulous.
  4. Smith turns it on with co-star Eva Mendes in a manner that will have George Clooney taking notes.
  5. Beautifully assembled and edited by Fenton Bailey and Randy Barbato ("The Eyes of Tammy Faye") and is often very funny.
  6. Sticking closely to formula, Disney delivers a sweet script and charming storybook backgrounds, with serviceable, if sappy, songs from Carly Simon.
  7. Oddly enough, though, only the finale is predictable in a movie that appears to have been edited in an early-model blender. Not a single scene connects smoothly with the next.
  8. Both lightweight and heavy-handed, Carl Bessai's arthouse drama can't even be redeemed by Ian McKellen's sensitive turn in the title role.
  9. Too superficial to shock or surprise.
  10. Excellent, troubling social commentary based on a true story.
  11. Occasionally exhilarating documentary.
  12. McAvoy is unerringly charming as Rory, a man who quickly discerns and dismisses well-meaning condescension. So one can't help wondering what he would think of this film, whose sentimentality comes across as smug.
  13. Rush has never played anyone this starkly unsympathetic, and he proves to be very good at playing very bad.
  14. It's a poignant, realistic depiction of the ­elderly, far from the typical view of them as quaint and useless.
  15. Greenebaum's tedious, film-school level exercise in self-indulgence and exploitation.
  16. If you're going to put us through hell, you'd better make it worth our while. Though Daybreak boasts a couple of minor insights and a compelling performance from Pernilla August, only the masochistically inclined will consider them sufficient reward.
  17. The movie is so glacially paced and underdeveloped that it often feels as numb as its grieving hero.
  18. Shangri-La is in your own backyard.
  19. No better than whatever you might pick up while wearing a blindfold at Blockbuster, even if you happen to reach into a trash can.
  20. Aside from its relentless exploitation of a child, this minor thriller features an intriguing beginning, a middling middle and an increasingly silly end, with a multitude of red herrings going squoosh underfoot.
  21. After dazzling us with its undersea discoveries, "Aliens" turns downright silly at the end, with a fantasy sequence set in a presumed ocean on Europa, one of the moons of Jupiter.
  22. Director Daniel Burman examines the ways people cope with the passing of time, whether it's weary mall employees, a broken family or the diminishing Argentinean-Jewish community.
  23. Showing the movie would be a great way to open a debate. I would love to hear its charges answered as clearly as they're stated.
  24. The affable Ice Cube is all that makes this forced, unfunny film watchable, and, frankly, it's hard watching him waste his efforts on a movie so woefully cynical.
  25. Though a bit long and occasionally ­awkward, this drama ultimately does ­justice to its inspiration - the true-life tale of boxer-turned-transsexual Nong Toom.
  26. Unremittingly explosive, Head-On is not an easy film to watch. It is, however, a memorable one.
  27. The second half of Antoine de Caunes' Monsieur N., about the post-exile life and death of Napoleon, plays less like a movie than a suggestion for one. This is a great disappointment because the first half is very cinematic and very compelling.
  28. As documentaries go, Watermarks is nothing special. But the women who inhabit it are sensational.
  29. Alnoy's unnerving mood piece is spare and atmospheric, even funny. The movie is accomplished, but gets hung up on arty composition.
  30. In a preamble that sets up Hawke's character, the jittery hand-held camera and grainy palette establish the look and feel of a '70s movie, thus paying homage to the Carpenter version, which, frankly, had more suspense.

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