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. Originally intended as a comedy, the snippets of lightheartedness that remain seem awkwardly out of step with the unsurprising drama that replaced it.
    • New York Daily News
  2. In its unleashing of relentless, cosmic retribution, The Operator is not unlike the recent "Joy Ride."
  3. Ultimately, it's too much information coming too fast.
  4. For sheer escapist fun, the proudly ridiculous Bandits fills the bill.
  5. If you're wondering whether the rules of love change during war, you won't find a better case than the urgent, darkly comic relationship between these two.
    • New York Daily News
  6. The writing, directing and acting are all so sketchy, it's a mystery that Kattan didn't just try out this material the way he should have -- in a three-minute sketch.
  7. Despite catchy animation and a few intense scenes, there's simply nothing here we haven't seen before.
  8. 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.
  9. For film buffs and Lynch fans, this is a glorious high.
  10. Drifts from goofy situation comedy to pop culture parody to a last-act load of sentiment that would sink a trash barge.
  11. Breillat has made an important, even essential work about the exploitation of young women's sexuality, but is not she complicit as well?
  12. It's just a setup for another bad sight gag that ends up where the script itself belongs, in the trash.
  13. You won't find many insights into the personalities, or even a hint of the demons that plagued Garcia until his death, but seeing the two men together -- keeps a smile on your face and your feet tapping throughout.
  14. Caught with a shaky hand-held camera, this aimless diary glides indifferently along Weber's stellar collection of photos.
  15. Joy Ride is plenty spooky but there's also plenty of comic relief -- mostly from the perennially goofy Zahn.
  16. A likable, if somewhat earnest, exploration of cultural identity.
  17. The movie raises questions that are on plenty of minds right now, including whether and how much the rules should be bent to wage a war (in this case, on drugs) that cannot be won conventionally.
  18. The lightweight bauble is perfect entertainment for now.
  19. A fascinating, damning picture of bourgeois boredom that manages to be both epic and intimate at the same time.
  20. The movie's pleasures are spare, and will appeal mostly to die-hard Rivette fans and viewers with slow pulses.
  21. Director David Kane handles the sprawling cast with aplomb as his characters learn some new steps in this life-and love-affirming movie.
  22. If you're going to make a movie about men talking, shouldn't they have something important to say?
    • New York Daily News
  23. Gilliam's first fully equipped playpen and if he musses it up -- I mean, really musses it up --well, prodigies will be prodigies.
  24. Desperate for a slice of Spanish soap opera? You might try this misguided romantic melodrama.
  25. Equally compelling and depressing.
  26. A fairly nifty piece of suspense filmmaking, with a strong if relatively undemanding performance from Douglas.
  27. The humor is simple but far from dumb. The dueling "walk-off" between rival male mannequins is inspired, as are the sly juxtapositions of the male model's faux physicality with such real-world demands as coal mining.
  28. Is it possible to have too much Anthony Hopkins? Believe it or not, the answer is yes. Hopkins' quiet power and perfectly formed vowels overwhelm the rickety, falsely sentimental Hearts in Atlantis.
  29. As tension mounts through the evening, Giraldi cleverly sweeps in and out of conversations -- and brings it all together in a climax that is as hard to see coming as it is to resist.
    • New York Daily News
  30. A classic case of good intentions and bad filmmaking.

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