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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    • 52 Metascore
    • 60 Critic Score
    Madame Bovary
    Sophie Barthes directs this gloom-laden English-language version of Gustave Flaubert’s novel. The tragedy accelerates impressively, but the well-acted film doesn’t leave us wiser about the enigmatic, ever-doomed figure at the center of things.
  2. Set Fire to the Stars
    High art swings sort of low in this watchable but thematically repetitive drama.
  3. Me and Earl and the Dying Girl
    The charming, soulful Me and Earl and the Dying Girl is a movie that loves movies — which is great, because you’ll love this one.
    • 59 Metascore
    • 60 Critic Score
    Jurassic World
    For much of its running time, Jurassic World plays like a great theme park ride. In an age of blockbusters that lumber like herbivores, it’s refreshing to see a movie as lean and mean as a velociraptor.
    • 30 Metascore
    • 20 Critic Score
    Freedom
    It’s a restrained performance, but director Peter Cousens should have unleashed some of the “Jerry Maguire” Oscar-winner’s energy for this solemn tale.
  6. Love & Mercy
    To capture the artistic process in this way is extraordinary, and in many ways unprecedented. The scenes are not shot in documentary style, but flow with bits of inspiration, conflict and nuance. We see and listen to some of the era’s greatest songs being made.
    • 48 Metascore
    • 80 Critic Score
    Hungry Hearts
    As the couple’s life becomes more and more insular, Costanzio subtly builds the drama into suspense that’s utterly natural and smart.
  8. Spy
    The moments when Spy falls apart are when the film fancies itself the real thing. The times when it works are due to its leading lady.
  9. Insidious: Chapter 3
    You jump out of your skin the first few times the skeleton pops out at you. By the end of the ride, you’ve gotten a good look and it’s not so much scary as hokey.
    • 24 Metascore
    • 40 Critic Score
    Unfreedom
    Director Raj Amit Kumar's bold but ultimately muddled attempt to address extremism and intolerance.
  11. Barely Lethal
    This mashup of a teenage assassin lark and high school misfit comedy misses the chance to add a supercool heroine to pop culture.
  12. Every Last Child
    Mostly, though, there’s hopefulness here, and determination to win a fight worth fighting.
    • 24 Metascore
    • 20 Critic Score
    Dawn Patrol
    Dawn Patrol has a lot on its plate and manages to drop it all. The movie deals with themes of xenophobia, murder, revenge and forgiveness, and not one aspect is handled with anything approaching competence. What a dud.
  14. Entourage
    Entourage plays like a solid, if slightly too long, episode. But even given the bloat, the cast’s easy camaraderie and a “play it as it lays” atmosphere wins you over.
  15. Heaven Knows What
    There’s never a false moment.
  16. San Andreas
    San Andreas is a disaster — literally. That’s not to take a piece out of Dwayne (The Rock) Johnson. His charm and family-man-style fearlessness as the movie’s star is the only saving grace in this thuddingly repetitive, badly written crash-a-thon.
  17. Aloha
    Aloha isn’t horrible, but it does have a pitiable odor about it, like a dog that’s sat too long on the beach. Crowe aspires to Golden Age of Hollywood repartee, but something feels off, just as it did in “Elizabethtown” (2005) and “We Bought a Zoo” (2011). Everyone just seems to be trying too hard.
    • 32 Metascore
    • 40 Critic Score
    Club Life
    Club Life is a flat, disjointed drama that’s buoyed by a couple of good performances. Your mileage may vary depending on your interest in dance montages.
  19. Gemma Bovery
    The emotions are florid and the entanglements heated. But the film become preoccupied with, as Flaubert would say, the pettiness and mediocrity of daily life. Arterton, though, is plushly magnetic. She draws us in despite the overly lyrical atmosphere.
    • 73 Metascore
    • 20 Critic Score
    I Believe in Unicorns
    It’s easy to roll your eyes at this slapdash film-school reject — though director Leah Meyerhoff can be forgiven a bit. She’s still in film school.
    • 47 Metascore
    • 60 Critic Score
    Poltergeist
    It doesn't reinvent the wheel, but Poltergeist is a solid, surprisingly effective chiller.
  22. Sunshine Superman
    An informative, if not engrossing, history of a sport.
    • 5 Metascore
    • 20 Critic Score
    The Human Centipede III (Final Sequence)
    Neither Scary nor eye-rollingly fun, The Human Centipede 3 (Final Sequence) is the dullest entry in an atrocious trilogy.
  24. When Marnie Was There
    Director Hiromasa Yonebayashi did a wonderful job adapting “The Borrowers” into “The Secret World of Arriety.” But this slow-moving film, also from a book, tends to plod rather than float.
  25. Aloft
    Deep — deep! — in this impenetrable block of ice is an actual, OK story. But the patience it takes to get to it? The return on investment just isn’t there.
  26. Tomorrowland
    This fantasy adventure lacks focus when it should be laser-sharp, and stumbles when it could soar.
    • 57 Metascore
    • 80 Critic Score
    In the Name of My Daughter
    Best of all is Deneuve, who brilliantly justifies her position as French cinema's First Lady.
    • 63 Metascore
    • 40 Critic Score
    Pitch Perfect 2
    Pitch Perfect 2 follows the same template as part one, but it’s unmemorable.
  29. Every Secret Thing
    Diane Lane has about 15 minutes of underwritten screen time as Helen, Alice’s tart, art-teacher mother. A wooden Elizabeth Banks is the detective who cracked the original case and now heads up the new one. She thought she could handle it. She can’t.
  30. Slow West
    Slow West isn’t a grand epic of that genre. It’s more like “McCabe & Mrs. Miller,” “Dead Man” or the recent “The Homesman,” using familiar signposts to tell a simple, compelling, terrific story.
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