New York Daily News' Scores

For 6,757 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 6.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Ride with the Devil
Lowest review score: 0 Awake
Score distribution:
6757 movie reviews
  1. Do androids dream of electric sheep? Maybe. But science fiction-loving cinephiles have definitely been dreaming of a movie like Blade Runner 2049 for years.
    • 81 Metascore
    • 90 Critic Score
    Taking Michael Lewis’ seminal book about the meltdown as source material, director Adam McKay channels his own anger into something rarely even attempted by Hollywood, let alone pulled off: a comedy about a tragedy.
  2. Comparisons to the classic 1979 Oscar winner "Kramer vs. Kramer" are inevitable. But Gifted stands on its own because it feels more like reality than a Hollywood take on family crisis.
  3. Steinfeld is brilliantly able to weave together a character who's both typical and yet surprising in her multidimensional emotions that Nadine slowly works through. She's not a cookie-cutter character.
  4. Amid all the high-speed action, this “Baby” is also spiked with humor. In large part that's thanks to Spacey and Foxx, as well as Jon Hamm, who makes the bank robber Buddy, one of his better movie roles. Having such strong actors also brings a gravitas to the story.
  5. We get it, and DC finally should, too: Superhero movies can be fun. And Wonder Woman is a movie that'd send even the Suicide Squad home smiling.
  6. Experimental in form, it's also open and appealing in its vision of romantic redemption, an avant-garde romp that's also a great date movie. [8 Mar 1996, p.40]
    • New York Daily News
  7. A fascinating whirl of politics and palace intrigue.
  8. Even those who've long noted Polley's intelligence on screen will be amazed by the perception she displays as a filmmaker.
  9. Polanski’s direction is smooth and the film itself happily understated. The tension created is practically unbearable.
  10. Working from his own original screenplay, Crowe builds a story line full of unexpected twists and digressions.
  11. A caustic, funny, low-budget treat, shot on digital video.
  12. Clever, compelling, funny and unpredictable, and it has a lollapa-looza of an ending.
    • New York Daily News
  13. As wide-ranging, and yet as sharply focused, as Mikal Gilmore's book.
  14. Yet another film from Iran that has the leisurely pace, sly humor and incontrovertible wisdom of a Sufi parable.
  15. While it won't rival the Harry Potter movies as a cultural milestone, the luminous, irresistible Stardust is no less industrious at scavenging myths and legends and making something altogether new from the familiar pickings.
  16. This extraordinary film refracts truth through the prism of memory, until what you get is a tragedy of Shakespearean dimensions, full of sacrifice and betrayal.
  17. The story itself is a smooth little gem.
  18. The pleasure of Ever After is that it never takes itself seriously. [31Jul1998, Pg. 47]
    • New York Daily News
  19. Ale's community is like a band of pirates - collegial, bickering, larcenous and supportive - and his life within it is both heartening and heartbreaking.
  20. Straightforward and immensely powerful, the movie offers a blunt assessment of the war from soldiers currently fighting it, and their perspective is not pretty.
  21. Sensational...as authentic as news footage, and far more intimate.
  22. A simple story that resonates deeply, largely thanks to the actors' ability to invest it with inner life.
  23. Shrek 2 delivers more fun than there is slime in a green ogre's swamp. Much of that is thanks to Antonio ­Banderas, who runs away with Shrek 2 on little cat feet.
  24. Stamp, whose ability to make Wilson simultaneously coarse and charismatic is irresistibly entertaining.
  25. If there's a soft spot in your heart for the sword-&-sandal epic -- and from the star rating above, I think you can guess where I stand -- then you'll swoon with giddy delight over Gladiator.
  26. What keeps the film from becoming obnoxiously redundant is the conviviality of the comedians. These are funny people even when they're not telling the joke.
  27. An amazingly self-assured movie, it percolates with themes and ideas, all held together by the gift of the bull's parts.
  28. Perversely funny.
  29. Built from a perfect story-telling collaboration.
  30. Pegg and Wright are armed with an endlessly impressive arsenal of attention grabbers, from witty editing tricks to a wry soundtrack and a joke-packed script that demands multiple viewings.
  31. The memories recalled here aren't epic tales, just moments that make life worth living. Like seeing a good movie. [12 May 1999, p.44]
    • New York Daily News
  32. Works on every level. The humor and language are as crude as an R rating allows, but Carell and Apatow's script is so hip, funny and - yes - innocent that it's never offensive.
  33. A pleasure, chock full of creatively choreographed fight scenes.
  34. Arguably Lumet's best film in 20 years.
  35. Written, acted and directed so intelligently that it stands out from the pack, and is guaranteed to give you the warm glow of holiday movies past -- the kind that celebrated faith in human potential and the value of hard work.
  36. The power of the arts to transcend cultural differences is presumably what moves the German to spare Szpilman, and, perhaps, is the key to Polanski's salvation as well.
  37. Locks in on its self-destructive subjects so precisely, it's almost unbearable to watch.
  38. Ray
    Every once in a while, a performance pops out of a Hollywood movie that is so brilliant and unique to the matching of actor to role that it's impossible to imagine anyone else achieving it.
  39. Given the near total absence of intellectually ambitious American movies today, a critic's first impulse after seeing Francis Ford Coppola's reedited Apocalypse Now may be to treat it as the new, improved version he says it is and proclaim it a masterpiece - if not in 1979, then now. But it's not that simple: Apocalypse Now Redux is not a new movie, and neither is it necessarily improved.
  40. Exhibiting the same sort of patience as his sensible hero, Philibert has created an extraordinarily humane portrait of a partnership between one adult and his very fortunate charges.
  41. The performances are all terrific, but Gene Hackman is close to a career best as the family patriarch Royal, the most useless man you can't help loving.
  42. A slick, fast-paced production with first-rate performances and an emotional punch you won't soon forget.
  43. The movie is an actors' paradise, and absolutely no one disappoints.
  44. Represents the year's biggest gamble - and it delivers the year's biggest and most ambitious fantasy.
  45. It's not as clever, or as consistently funny, or as well-cast as "Shakespeare in Love," but Richard Eyre's Stage Beauty is the most fun I've had with the Bard since that 1998 Oscar winner.
  46. Riveting update of George Bizet's "Carmen."
  47. Go
    Darkly hilarious.
  48. It's a slice of life, with all the trimmings, and one of the strongest films of the year.
    • New York Daily News
  49. 28 Weeks Later has a stronger story line, equally fine performances, greater tension, enough gore to satisfy the most hard-core zombie fan, and a narrative pace that flings us from the opening scenes to the very last image.
  50. A two-hour, one-joke comedy that never gets old, Stuck on You is the most mature, consistently funny and satisfyingly sweet movie in the rollicking careers of brother filmmakers Bobby and Peter Farrelly.
  51. Except for Hempf, every character is under incredible duress, and the performances are exceptional. With his first feature, an Oscar nominee for foreign-language film, von Donnersmarck has certainly left his mark.
  52. Intimate, deeply affecting family drama.
  53. Dano is a real find in this daunting role about a teenager's identity crisis. The subject of the movie is dicey but ultimately deeply rewarding.
  54. The love and attention Oshii poured into animating Batou's pet basset hound proves that the human instinct dominates even in a movie dependent on technology.
  55. Inordinately clever, sprightly romantic comedy.
  56. Harris convincingly creates one "Pollock" after another over the course of the movie.
  57. Critics are already comparing the two movies and largely agreeing that Tarantino?s story about a psychopathic stuntman who targets women for highway carnage is the best. I disagree.
  58. In making such an appealing movie about characters who are usually swept under the Hollywood rug, Binder does us all a service.
  59. For Hobbitués and adventure fans of all other ages, it's the year's best thrill ride -- maybe the best film.
    • New York Daily News
  60. When it comes to sports movies, there's nothing like the real thing, and there's never been anything quite as real as the documentary Murderball.
  61. This powerful, compact trilogy speaks volumes about women in Iran.
  62. First-time filmmaker Edet Belzberg may be the first person to assign any value to the lives of the homeless Romanian youngsters featured in her harrowing documentary.
    • New York Daily News
  63. A droll gem that celebrates movie love with feeling and deadpan humor.
  64. The sniper's life is a lonely one, full of shallow breathing and delayed gratification. Solitary as it is, Jude Law manages to get a little action in the bunkers of wartime Stalingrad in the ambitious but sometimes inadvertently silly Enemy at the Gates.
  65. This is likely the fastest-moving intentionally funny action movie ever made. It's as if the 21 Bond movies and four "Die Hards" had been distilled to remove their body fat (that is, character development, buildup, rest stops, etc.) and left us with only the killing and the punch lines.
  66. Fascinating, amusing and ultimately disturbing.
  67. This winning documentary about fifth-graders who learn ballroom dancing is one of those movies that make the world a brighter place.
  68. Each man winds up owing the other -- and the enormity of the sacrifices they make on one another's behalf are quite moving and have not been duplicated in the movies since.
  69. If there is any justice in the world, Farnsworth will be remembered at Oscar time.
  70. The darkest, most thrilling entry yet in the movie franchise.
  71. As tawdry as this may seem, Bertolucci is not trying to one-up himself. He was 27 when the student riots occurred and very much a participant in a revolution that was both complex in its implications and naive in much of the behavior. He has caught that perfectly
  72. Based on the true story of the first emperor of unified China, could be downsized and told as an American Western.
  73. The film is too sprawling in extent, too noisy as to background music and voices and much too obvious in the application of its social significance notes. But while it isn’t the best picture to come out of Hollywood this year, nor is it Capra’s masterpiece, it tells a good story and its conclusion has a heart-warming effect on the audience.
  74. Goldfine discover so many fascinating themes within their seemingly narrow subject that anyone with the slightest interest in history or human nature will find it absorbing.
  75. It's as harrowing as moviegoing gets.
  76. The strength of McKay's film is not in identifying a cultural period, but in giving voice to so many great theater people. Their passion is infectious, their stories are priceless and their humor is boundless.
  77. A beautifully rich performance by Meryl Streep, [18 September 1998, p. 57]
    • New York Daily News
  78. As strong on action as it is weak on the interpersonal stuff. If Bond can get a new car for each episode, how about some new pickup lines?
  79. The naturalistic dialogue is a masterful bit of writing, credited to Linklater and his "Sunrise" co-writer Kim Krizan, as well as to the two stars.
  80. Makes hoops look like the sexiest game in town.
  81. "Chocolat" was just a warmup for the stunning display of the male form against National Geographic settings in her new Beau Travail.
    • New York Daily News
  82. Gripping documentary.
  83. I wouldn't recommend the movie to anyone, but if the families of the victims take something positive from it, as their cooperation with Greengrass suggests they do, that's justification enough.
  84. When boy meets girl in Steven Soderbergh's jaunty, sexy Out of Sight, it happens with a bang.
    • New York Daily News
  85. The inexplicably terrifying ending is good for a month's worth of nightmares -- no small thing for a movie in such a saturated field.
  86. Gives moviegoers a funny, observant, evanescent approach to the mysteries of human desire.
  87. Bernie Mac gives surprising wisdom and heart - along with the laughs - to what could have been just another generic baseball comedy.
  88. Linklater's ravishing new movie represents a bold leap into the possibilities of technology.
  89. In this cross between film noir and melodrama, there's lust, need, camp and betrayal.
  90. It's not just a movie about an underdog who fights the odds, it's about following one's heart -- despite the obstacles.
  91. A powerful movie that should win all the year's ensemble acting awards. Pitt has never done better dramatic work, Blanchett is as convincing as always, and - in introducing themselves to American audiences - veteran Mexican actress Barraza and Japan's Kikuchi are revelations.
  92. Man on Fire, with a best-ever Denzel Washington, is the first (nonreligious) sure thing to hit the multiplex this year.
  93. The performance of the movie is Liev Schreiber as Shaw, a man howlingly uncomfortable in his own skin.
  94. The plot is intricate and tight. The preamble is a bit challenging to sort out. But the movie's engine is the relationships and the characters' inner lives, all of it boiling with emotional intensity.
  95. Clever, buoyant and surprisingly human.
  96. The feel-good movie of the summer. And the song this pimp works up, about how hard it is to manage a stable of ho's, is catchy and moving.
  97. For a black comedy whose tangled sequence of events is completely improbable, Pedro Almodóvar's Volver feels absolutely authentic. So, think of everything as metaphor and enjoy one of the year's most delectably twisted treats.
  98. Spider-Man is an almost-perfect extension of the experience of reading comic-book adventures.
    • New York Daily News
  99. No matter which floor you're on, the huge cast is extraordinary, and Altman gives the actors free rein to bring their characters to life despite such close quarters.

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