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 8.1 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:
  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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  1. Reality
    There is enough here — including the gifted Arena’s barely believable backstory — to keep your head spinning.
  2. Philip Roth: Unmasked
    Philip Roth turns 80 next week, and what better way to celebrate than to serve as the hero of his own story? It’s too bad, though, that this dully conventional biography doesn’t do justice to its subject.
    • 42 Metascore
    • 60 Critic Score
    Reincarnated
    Director Andy Capper crafts a surprisingly moving story, particularly in Snoop’s reactions to the deaths of Biggie Smalls and Tupac Shakur.
  4. The Incredible Burt Wonderstone
    Like a creaky Vegas act desperate to please, The Incredible Burt Wonderstone is so eager you can’t help wanting to like it. But you also can’t help wondering if something better is playing in the theater next-door.
  5. Upside Down
    Its compelling conceit is immediately weighed down by leaden execution.
  6. Spring Breakers
    So often not in his element — his turn in “Oz the Great and Powerful” is evidence of that — Franco is in freako mode here, and walks a line between spaced-out caricature and just plain Out There.
  7. Language of a Broken Heart
    Nothing terribly special here, but perfectly played and a spiritual cousin to such early ’90s indies as “Naked in New York” and “Ed’s Next Move.”
  8. Beyond the Hills
    The deliberate pace Mungiu employs in this incredible work is so engrossing and quietly heartbreaking that its philosophical ending may come as a shock.
  9. The We and the I
    Most of the performances are as unpolished as they are heartfelt, which is both endearing and distracting.
  10. Dead Man Down
    Before it devolves into typical American-style action, there’s an intriguing, European-style complexity to Dead Man Down.
  11. Electrick Children
    This material could so easily have tipped over into false sentimentality, but everyone works with a steady hand. Rebecca Thomas makes an assured debut as both writer and director, the gifted Culkin is excellent as always, and Garner finds lovely shades of nuance in Rachel’s innocent faith.
  12. Emperor
    Director Peter Webber (“Girl With a Pearl Earring”) fills the film with conciliatory emotion and jarring vistas of post-atomic landscapes. Unfortunately, Emperor needs more good ol’-fashioned swagger.
  13. Oz the Great and Powerful
    Don’t be fooled by the smoke and mirrors. There is nothing here that is great, or powerful. Worst of all, there’s nothing here that even feels like Oz.
  14. The Last Exorcism Part II
    Now Bell can break out of the genre. She's served her time.
    • 53 Metascore
    • 60 Critic Score
    Don't Stop Believin': Everyman's Journey
    It’s nice to watch the members marvel unendingly over their new find, while Pineda himself presents an ideal image of gratitude and hard work.
  16. 21 and Over
    How ironic (depressing? predictable?) that the week after we celebrate the best in movies, we are force-fed its very worst. 21 & Over is filmmaking by formula, and evidence of Hollywood’s assumption that appealing to viewers’ basest instincts will always pay off.
  17. Stoker
    Stoker is like the baby David Lynch and Tim Burton had, then left on the doorstep of the Addams Family. Full of heavingly gorgeous images that envelop a viewer before smothering them, its maddening elements eventually become too much to bear.
  18. The End of Love
    There is plenty of evidence that Webber has something significant to say, and the gifts with which to express himself. Once he’s ready to commit fully to his own vision, there’s no end to what he might accomplish.
  19. Future Weather
    The movie works best as a calling card for young Haney-Jardine, whom we can surely expect to see more of on the festival circuit.
  20. Hava Nagila: The Movie
    While the filmmakers never quite make the case that their chosen melody deserves its own full-length film, they do ensure that you’ll leave the theater happily humming it.
  21. A Place at the Table
    As important and eye-opening a documentary as you’ll see this year, A Place at the Table makes it impossible to think of hunger as merely another symptom of a shredded social safety net.
  22. Jack the Giant Slayer
    A director as talented as Singer (“The Usual Suspects,” “X-Men”) should be working to raise popcorn movies to a higher level. Instead, this uninspired effort feels like a colossal letdown.
  23. Dark Skies
    The pacing is so tedious and the action so unexciting that it's a real thrill when J.K. Simmons shows up as a wry alien expert — and a huge disappointment when he disappears a few minutes later.
  24. 11 Flowers
    Wang Xiaoshuai’s gently engrossing coming-of-age tale isn’t strikingly unique, but it does possess the heartfelt confidence that comes from autobiographical influence — and natural talent.
  25. Rubberneck
    The film works better as an uncomfortable character drama than as a murky family mystery, which Karpovsky deepens with some psychobabble. Still, a nicely sinister and shuddersome effort.
  26. Red Flag
    Owing a debt to Albert Brooks’ early comedies, Red Flag might be too much if it weren’t just right.
  27. Inescapable
    Muddled and inert despite the best intentions, this inescapably dull thriller plays like a Middle Eastern take on Liam Neeson’s “Taken.”
  28. Snitch
    Snitch is like watching an elephant on ice: inelegant, but you admire the effort.
  29. No
    The result was remarkable, but the story of it, while true to the moment, needed — ironically — much more dynamism.
  30. Saving Lincoln
    The movie’s gimmick is having the actors visually superimposed over sets created from actual Civil War photographs. But this collage effect, while striving for truthfulness, comes off like a View-Master version of a tale already told.
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