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. Provides just enough smart, silly fun for families desperately seeking an easy (and air-conditioned) escape from hazy August humidity.
  2. Bledel brings a sweet, steady presence, but this sort of minor project is a step backwards. It's high time she graduated on to bigger and better things.
  3. A fairy tale about the infinite power of film, it boasts all his swaggering trademarks: rapid-fire dialogue, gleeful violence, endless cultural references. But it's the sharp-eyed deliberation that makes the greatest impact.
  4. Sturgess is solid and Kingsley predictably sneaky, but the atmosphere -- scurries through the Catholic/Protestant border, tense stand-offs, spontaneous riots -- is what's genuinely gripping.
  5. Early scenes set up the tragedy, but the majority of Oliver Hirschbiegel's movie is set in a TV studio where the two eventually face each other, and the tension, unfortunately, quickly becomes stagey.
  6. The movie is filled with fun '50s Americana.
  7. The beginning is awkwardly earnest, but the play matures considerably while retaining its youthful energy and enthusiasm
  8. Sadly, once the movie shifts gears, it becomes a timid "Donnie Darko."
  9. Unfocused and underwhelming.
  10. An usually insightful rendering of an ordinary family, Hirokazu Kore-eda's contemplative Japanese drama is the sort of movie that makes its greatest impact long after you've seen it.
  11. A memorable, monstrous fable that's consistently gripping.
  12. Trippy in the right way, and wholly enchanting.
  13. The cozy sentimentality in The Time Traveler's Wife is the only thing that grounds it. Mostly it's just featherheaded.
  14. The oh-so-out-there mentality earns some chuckles, but that, along with Piven's preening, gets very trying. A hard sell is still a hard sell.
  15. Few of the parts harmonize ­properly, leaving us with provocative fragments rather than an electrifying whole.
  16. Best of all is newcomer Connell, the kind of charismatic kid who would have been cast in "Freaks and Geeks" ten years ago.
  17. Even with all the inconvenient truths exposed, Stone's film is still, sadly, inescapably crucial.
  18. Although Kutcher deserves some ­credit for trying to spread his professional wings, it quickly becomes clear that he's in over his head.
  19. There's a way to do this kind of thing (Just witness Hasbro's other toy-turned-dumb movie franchise, "Transformers"). G.I. Joe, though, hasn't got a kung fu-grip on what it is.
  20. Streep is the most important ingredient in this recipe.
  21. While Cera is adorable, Yi’s faux ­naiveté is overplayed and her philosophical musings are underwhelming. But you won’t soon forget the real-life couples she interviews.
  22. The result isn't deadly dull, but it does turn what should have been a most dangerous game into a basic scenery-chewing contest.
  23. Fans of Andrew Bujalski's previous mumblecore movies are the likeliest audience for his latest, a modest, slice-of-life indie that doesn't quite live up to his ­earlier efforts.
  24. Giamatti is one of the few guys who could take a joke about a chickpea-sized soul and make a meal of it.
  25. Low-budget, grubby and gleeful, but with a nice sense of style and apparently an endless supply of dry ice. Points deducted, though, for a too-easy alien-corpse joke.
  26. Gets old fast.
  27. What's cool and always kicky is seeing a country's irreverent movie trash being treated with such, well, reverence.
  28. A movie without a moment of truth to be found.
  29. What it is, really, is a trainer film, meant to prep the world's youngest ticketholders for the day when they're old enough to help turn Bruckheimer's bigger movies into blockbusters.
  30. Orphan doesn't add much to the genre except, disturbingly, a fetishistic bent that's creepy in the wrong way.

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