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. Long before your 140 minutes are up, you may wish you went to see "Sparkle" instead.
  2. The 12-year-old boys who go to see ParaNorman - and who are the only ones who might enjoy it - should double up on the sugary treats to stay awake during this gorgeous-looking but zombi-fied stop-motion animated creep show. It's as slow as a corpse, and half as interesting.
  3. A strong cast, empathetic direction and memorable soundtrack help create a movie that does everyone proud.
  4. Although little Timothy does arrive in unusual circumstances, his story will feel familiar to anyone who's encountered Hollywood's particular brand of calculated sentimentality.
  5. This earnest, at times touching, reach-for-your-dreams doc about musical hopefuls in middle age gets sidetracked quickly. When it should focus on a reunited R&B group, it wallows in the self-aggrandizement of an L.A. producer and, most awkwardly, a New York cabaret singer.
  6. Filled with enough clichés to be broken up and sold in pieces as junk material.
  7. Goats is just b-a-a-a-aad.
  8. We have little to hang onto once the film falls apart. Between the ongoing sermonizing and that final, sharp shock - which is gravely mishandled - we feel cowed into submission, rather than led towards enlightenment.
  9. Like the politicians it skewers, it knows the real winner is the stupidity, stupid.
  10. The introduction isn't as smooth as it could be, but eventually everyone settles into the right groove.
  11. What we really want is to get to know them. Instead, the film too-aptly reflects life in their line of work: brief interludes rather than intimate soul-baring. That's a shame, since there can't be that many 70-year-old identical twin prostitutes with a 50-year history in the business.
  12. Even if you appreciate the sight of grown men acting like idiots, the film's repetitive pacing and self-congratulatory air start to feel exhausting.
  13. If you're not in that demographic, don't dismiss it. You'll miss out on a genuinely sweet, perfectly acted, remarkably brave little movie that should make audiences swoon for something they thought was gone - a smart dramedy for grown-ups.
  14. How does a comedy troupe even get from the frat-humor antics of "Beerfest" to the middle-class suburbanality of Babymakers? Well, everybody gets old eventually. Growing up, on the other hand, is optional.
  15. Unlike last year's superior "Judy Moody and the Not Bummer Summer" - which put its grade-school heroine through similarly seasonal woes - "Dog Days" squanders several chances to find something magical in the mundane.
  16. Jones co-wrote the uneven script with Will McCormack, and one can't help wishing she'd aimed higher. Acknowledging cineplex clichés isn't enough if you still wind up embracing, rather than subverting, them.
  17. There's something sadly poetic about a movie dealing with disappearing memories that vanishes from your mind while you watch it.
  18. 360
    The reason director Fernando Meirelles' intimate drama 360 succeeds where other adaptations of Arthur Schnitzler's 1897 sexual circle-back play "La Ronde" haven't is, ironically, because it puts less emphasis on body heat and more on intellectual coolness.
  19. This lovely, low-key debut from Aurora Guerrero doesn't aim to make any grand statements. It doesn't need to. The sweetness and sincerity Guerrero and her leads infuse into their intimate coming-of-age story is more than enough.
  20. First-time director Anthony Baxter jettisons all pretense of impartiality, without adding any of the intelligent outrage of his evident influence, Michael Moore.
  21. Alison Klayman's chronicle of Chinese artist and activist Ai Weiwei is so straightforward that one can't help wishing the subject would make his own, more complex cinematic self-portrait. But for now, Klayman has provided a valuable introduction to a man everyone should know.
  22. Rodriguez's story is almost inconceivable in an obsessively magnified, heavily hyped Internet era. Which makes it all the more important to be shared. Listen, be moved, and pass it on.
  23. Every summer needs a super-turkey. So barring anything in the next 30 days that's the second coming of "Howard the Duck," the witless, completely terrible "comedy" now called The Watch should win hands-down.
  24. Anyway. Here's what matters: The dance scenes are great. While no more revolutionary than the "political" plotline, the flash-mob concept does allow for more creative choreography than this series has seen in some time.
  25. What's most notable about this aggressively cynical project is how much talent it wastes.
  26. It often feels as if the filmmakers expect us to be equally seduced by Ruby's wide-eyed winsomeness. That's a shame, as we can sense the deeper film beneath the surface. Because Ruby remains conceptual, this ambitious project lacks the dimension of the similarly meta-minded Charlie Kaufman projects that apparently inspired it.
  27. The finished "Ring" cycle, a combination of "myth, science and legend" made to order as Wagner imagined it, was unique to every viewer's eye. The making of it will be spellbinding to everyone.
  28. Everything that goes around comes around, but the roundelay in 30 Beats comes off, well, a little square.
  29. Deftly weaving double plotlines, gorgeous camera work, and deep compassion, Miike contrasts ritualistic "honor" with the truly honorable, as poor but noble squires face off against powerful lords cushioned by tradition and pride.
  30. This is certainly an apt time to make a crowd-pleasing movie about rich villains, but Greenfield is not an exploiter - she's an artist.

Top Trailers