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. This smart-looking but empty adventure — with a hero that looks more Tom Ford than John Ford — suffers from a shambling script, shifting tones and a surplus of villains. Clunky and drawn out, “Ranger” shoots blanks, even with the star power of Johnny Depp behind it.
  2. With his rapid-fire delivery and big heart, Rockwell makes Owen his version of “M*A*S*H”’s Hawkeye Pierce, but the film’s layers of well-observed truths go deeper than that.
  3. Bell’s skepticism feels real, and Brody, still best known as “The OC’s” insecure Seth Cohen, is perfect as the sort of arrogantly self-deluded player we’ve all met.
  4. Some may still be surprised at this fun, well-informed chronicle of what was happening in the U.S. as lighted floors, boogie shoes and Saturday night fevers were the rage.
  5. Even in shabbily put together dramedies, such as this one, there can be a glimmer of light. Here it’s Christine Lahti’s anguished, nuanced turn as a wife and mother excited to begin a new phase with her husband.
  6. Every foul-mouthed joke [McCarthy] cracks, every unexpected physical gag she underplays, is so funny you forget how often we’ve seen this setup. Or, when it comes to women, how rarely.
  7. Perhaps afraid that watching a symbol of liberty repeatedly go boom isn’t enough, Emmerich and screenwriter James Vanderbilt add family drama, an attack on Congress, a plane crash and the possible nuking of the Middle East. What isn’t tonally jarring ends up shatteringly inept.
  8. The movie is not up to the company’s highest standards, but it’s certainly better than most other kid flicks you’ll see this year.
  9. This poor man’s Norman Bates, though, doesn’t make us wonder what makes him tick; he makes us want to shut our eyes.
  10. A gripping, personal examination of a seemingly unresolvable conflict.
  11. A fascinating, alternate-universe look at the dawn of the music-sharing phenom — once a cause of concern in the industry, yet now a footnote to our all-digital music marketplace.
  12. It is no summer thriller. It’s an anemic actioner that fosters excitement like dead limbs as it lumbers toward a conclusion.
  13. Fans of Dario Argento and Mario Bava will appreciate the references. Even for newcomers, there are minor chords to enjoy. If only there were less screaming.
  14. The crowd that likes these things will certainly be psyched. Everyone else, not so much.
  15. At first, Elie Wajeman’s moody French drama looks like so many other stories to come before it.
  16. The real star, though, is the ocean itself, which is so stunning in its furious majesty that we fully understand every risk they’re willing to take. Finally, a 3-D ticket worth paying for.
  17. The very best — and, alas, the very worst — of human nature is captured in this heartbreaking and inspiring documentary.
  18. Narratively static and morally banal. That may be par for the course, however, when half the movie is spent watching shallow kids try on other people’s clothes.
  19. It's no minor accomplishment to make one of the most indulgent projects in Hollywood history. But with This Is the End, Seth Rogen and his pals have indeed achieved this dubious goal.
  20. The serious-minded result has many super-cool moments. But when it gets clunky, it’s super-meh.
  21. Who let an unfunny, irritatingly acted two-hour commercial for Google onto multiplex screens?
  22. Skip the movie and go buy yourself a drink instead.
  23. Simplistic plotting, pedestrian visuals and poorly-handled melodrama do lend the project a cheap, made-for-TV feel, which is underscored by the fact that Danes and Marsden don’t seem obliged to turn in their best work.
  24. The script unfurls too many obvious setups, but director Eric Valette is smart enough to rely on his most authentic effect — Dupontel’s natural intensity.
  25. There are no surprises among the characters — depressed mom (Amy Jo Johnson), controlling aunt (Cynthia Stevenson), new boyfriend (Tatanka Means) — but the cast is strong enough to build on familiar elements.
  26. Weixler is a delight, and director Tom Gammill captures the right level of deadpan to pull this off.
  27. This dark lark is like walking around Times Square looking at the flashy logos and lights and thinking you see the message behind the medium.
  28. Though much of the film is overcooked and overwrought, it’s well-played, and writer-director Kieran Darcy-Smith keeps us guessing, and watching.
  29. As a look at how we got from there to here, “Evocateur” is one for the time capsule.
  30. Gandolfini scoops up another chance to show off the gentleness he left at home during six seasons of “The Sopranos.”

Top Trailers