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 8.1 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. Though Fontaine makes sure the beaches are sun-dappled and the women’s shared house comes off like a sandy paradise, the movie is like the early-’80s groaner “Summer Lovers” with wrinkle lines. Hooray for the freedom and beauty of older women — a demographic that deserves better than the deplorable Adore.
  2. Only DeWitt looks at home, but Shelton allows “Touchy Feely” to be so wishy-washy that we can never get a hold of the star, or the movie.
  3. Any urgency the movie has comes from co-star Terrence Howard, a firebrand of an actor who can’t be contained by a paint-by-numbers script.
  4. The story feels like quicksand. Riddick, which couldn’t even qualify for proper summer movie placement, moves like Martian molasses and can’t present an action scene to save its life. You’ll wish you had Uncle Martin’s ability to speed people — not to mention awful movies — up.
  5. Kathryn Hahn gives an outstanding performance in what is ultimately a not-very-amazing movie.
  6. With no heat at all and a woefully disjointed cast, De Palma’s danse macabre never catches fire.
  7. The Lifeguard is one of those deceptive movies that, to its credit, winds up being about more than just an easy-to-describe tagline. In this case, that line would be: “Woman goes back to hometown, sleeps with high school boy.”
  8. What Getaway needed most is enough juice to get to the finish line, narratively speaking. Because while jumping into the car is great, the fun dies fast if there’s nowhere to go.
  9. Pieced together, these behind-the-scenes moments are a thrill for history buffs. From the moon landing to the resignations, this is raw Nixon.
  10. You’ll never buy an inexpensive T-shirt without feeling guilty again. At least not after seeing Nathaniel Thomas McGill and Vincent Vittorio’s thorough documentary, which explains something you already know — American manufacturing is dying.
  11. There’s social commentary in all of this, but it takes a back seat to a surprisingly compelling narrative of the two combating teams.
    • 49 Metascore
    • 60 Critic Score
    The most telling quotes in the new One Direction documentary “This Is Us” don’t come from any member of the band. They come from their parents, who, at various times, carp about their kids’ trajectory from the moment they were put together on “The X Factor” back in 2010.
  12. The big twist to Closed Circuit is stated in the film’s TV ads, so even the element of surprise is lost. There may have been the making of a juicy, episodes-long BBC series here, but as it is, there’s barely any juice at all.
  13. What’s more depressing: that John Cusack chose the junky, un-exciting serial killer drama The Frozen Ground as his latest step away from John Cusack-y roles, or that Nicolas Cage chose to, at long last, be as un-Cage-like as possible?
  14. Short Term 12 wraps up with one of the most touchingly memorable last moments of any film this year. Despite a title that’s hard to recall, this brief but resonant movie sticks with you.
  15. Wong’s visual grandeur is, as ever, all-encompassing.
  16. Some inner logic may not hold up under the sober light of day, but this unusual action-comedy has the loosey-goosey feel of something that can’t miss, like a soused round of bar pool. The final triumph: In a summer full of capes and masks, beer-bellied Frost tears off his shirt à la the Hulk. It’s this season’s best superhero moment.
  17. Combining the dysfunctional family reunion and the home invasion thriller, You’re Next tries, somewhat valiantly, to add new twists to the usual bloody horror-flick shenanigans. But aside from a few fresh chords, it’s same-old, same-old.
  18. Drinking Buddies is full of relatable dilemmas, guileless moments of kindness and character-based humor.
  19. Savannah should win some sort of award for most amount of times you’ll ask, “They roped that guy into this turkey, too?”
  20. The first half of Scenic Route is basically a filmed play, and not an insightful one. The more surreal second half takes on a moodier edge, but the switcheroo ending is cutesy to the point of annoying. Fogler impresses with some brooding edge, but neither he nor the location photography is enough to recommend you join him on this doomed trip.
  21. The energy, thrum and heartache of modern Havana keep this teen drama afloat when it just as easily could have drifted into cliché waters.
  22. Audrey Tautou trades in Amelie’s wide-eyed sprite look for le sourpuss in this sober yet fascinating take on aristocratic social mores between the wars.
  23. This full, footage-rich documentary shows respect for the social, legal, political, religious and pugilistic battles of the former Cassius Clay.
  24. This one is by far the worst of the “Twilight” copies. And when that bunch includes “The Host” and “I Am Number Four,” that’s saying something.
  25. The missed opportunities in Austenland are more numerous than dowry-less sourpusses at a ball in a Jane Austen novel.
  26. A colorful account of the life and art of the recently retired Drew Struzan, whose amazing poster work from the 1970s onward still delights cineastes and casual observers.
  27. Watching Ushio Shinohara and his wife Noriko make their art, we’re reminded of how much life is inside even the most abstract of pieces.
  28. This contemplative drama draws strength from day-to-day ordinariness and a terrific lead performance from Paul Eenhoorn, yet sadly falls short.
  29. Entertaining and smart, with a great, career 2.0 performance from Ashton Kutcher.

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