New York Daily News' Scores

For 6,719 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 6.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Being John Malkovich
Lowest review score: 0 From Justin to Kelly
Score distribution:
6719 movie reviews
  1. At this late date, filmmakers who draw inspiration from the Mafia had better have a whole new angle to offer. Otherwise, they'll end up with a movie like 10th & Wolf.
  2. A tepid amalgam of other, similarly themed movies.
  3. Dear Wendy is absurd to the point of comic parody. Bloody as it is, it has no access to viewers' emotions, and its message - play with fire and you get burned - is too obvious to be provocative.
  4. If you find a movie with a more annoying central performance than the one given by Brenda Blethyn in Cherie Nowlan's Introducing the Dwights, keep it to yourself.
  5. We could all use a little more Noel Coward in our lives. But the fizz falls flat in Stephan Elliot's adaptation of a lesser-known play, which, while blithe enough, has little spirit to speak of.
  6. Have Marc's friends tricked him with a conspiracy of silence, or was that mustache a growth only in his mind? The filmmaker has said there is no intended meaning to any of this, so search for it for your own amusement.
  7. This drama from Fox Faith Movies has a mercifully light hand in selling its Christian-values themes, but its plodding story about a spoiled young scion who must complete 12 tasks assigned him by his late grandfather is still a slog.
  8. Given the grim events, the buoyantly goofy An Amazing Couple has the effect of laughing gas pumped through the vents in a funeral hall.
  9. As it is, while Tunney is undeniably lovely to look at, she's just not that much fun to be around. And for 100 minutes, she's all we've got.
    • New York Daily News
  10. A stylish comedy low on amusement but high on sensuality.
  11. Intriguing almost in spite of itself.
  12. It's too big an ensemble to provide enough back story for each player. But Sayles doesn't give his characters easily digestible labels, like "kook" or "pathetic loser."
  13. Judging by the audience reaction -- there is apparently something funny about the idea of a man trying to hump a goat in heat.
  14. The plot is contingent on everything going perfectly in ways no one can possibly predict, right down to the most outlandish happenstance of timing and human behavior.
  15. This ponderous romantic melodrama...passes like a day behind bars.
  16. Abranches intends for a religious parable by way of Greek tragedy, but the film drowns in a morass of portentous signs and poetic symbols.
  17. Although Affleck's been a decent director - capturing real local color in "Gone Baby Gone" and "The Town," building tension nicely in "Argo" - his work here is dim and dull. Live by Night may be about rum, but the pacing is like molasses.
  18. Despite its impressive pedigree and unshakable assurance, Knight and Day is nothing more or less than an average popcorn flick.
  19. So sudsy it should have been rinsed off before being allowed into theaters.
  20. The story offers an interesting twist, but the only really spooky part is when a Benny Goodman record insists on playing without human aid. More scares, please.
  21. There isn't much here besides two self-absorbed kids.
  22. The movie has some of the washed-out look of David O. Russell's excellent "Three Kings," but none of the edge. That's part of the point - that nothing leads to anything, at least not in this particular war.
  23. A feast for the eyes. But not, alas, for the ears.
  24. An on-again, arf-again comedy. [26 June 1998, p. 54]
    • New York Daily News
  25. The good news is the script for Scooby-Doo 2 is marginally better and the eternally irritating Scrappy-Doo is nowhere to be seen.
  26. The story and humor are so tame the movie barely merits No More Tears.
  27. Baldly superficial, it probably should have been given a less demanding metaphor to live up to.
  28. The script and the performances are all fine, but it's very slow going.
  29. As earnest as it is awkward, the film has so much spirit, it's hard to dismiss entirely, even at its considerable worst.
  30. The overall effect of Lucas' digital mania has been detrimental to the saga. Where the first trilogy was mythological fantasy, the second is pure cartoon. The sad truth is, the more three-dimensional they look, the more two-dimensional they are.
    • New York Daily News
  31. Charlize Theron's Gilda in Head in the Clouds invites comparison to Rita Hayworth in 1946's "Gilda," which adds a touch of the ludicrous to this already strained material set in wartime France.
  32. The results are often exciting and, except for occa­sional overacting by Calil, feels authentic. But the whole notion of exploiting a war and its victims to shoot a commercial feature is reprehensible.
  33. Very much a freshman effort, lacking focus, edge.
  34. All the flash and sizzle of modern movie effects can't make up for a once spectacular tale that feels not just scaled-down, but shrunk.
  35. There are plot holes you can fly Air Force One through.
  36. A sad, almost morbid -- and cinematically inert -- eulogy to a complex man whose own genius was dampened by arrogance and politics.
  37. Stanze is to be congratulated on raising the bar for horror avant-garde filmmaking on a shoestring.
  38. It all comes together at the end, logically and with a twist. But it's not a game that allows the audience to play along. When the story is controlled by whatever memories the writer and director choose to put in the characters' heads, you're always on the outside looking in.
  39. The film itself is a bit on the talking-head side, evoking none of the passion and anguish that are the music's trademarks.
  40. It's a slight story to begin with, and the movie teeters on camp with its jokey filler material -- the typical King stuff including colorful locals, small puns and asides and a faint whiff of the supernatural.
  41. Can't cope with its own weirdness.
  42. At its best when it embraces its true identity, as frivolous fun.
  43. Gives cinema vérité texture to a fictional story of trailer-trash dysfunction (minus the trailer).
  44. Pleasantly cheesy but undistinguished martial-arts and horror fare.
  45. An improvement over "Jackpot," but not much. The best thing about it is Nolte, playing the grizzled priest as an angel in his own right. Everyone else- - save the young boy playing the orphan -- seems to be in on a joke we just don't get.
  46. It's the banal romantic triangle that inspired Sverak ("Kolya"), who obviously didn't see "Pearl Harbor" in time to stop himself.
  47. If August has turned the children in your life into Bored Girl and Fidget Boy, you could find worse ways to keep them entertained.
    • 45 Metascore
    • 50 Critic Score
    Hawn deserves better, and so do audiences who are likely to find themselves losing interest in the kidnapping movie’s runaway plot.
  48. Characters seem phony.
  49. Redmon has captured some compelling footage, but his lack of resolution feels like both a copout and a luxury.
  50. Though the director takes a thoughtful approach to the material, mixing humor and poignancy, he undercuts our sympathy considerably by dragging things out to an inexplicably indulgent degree.
  51. As dull and inert as the ink used to print the Gospels of Matthew and Luke that informed Mike Rich's script.
  52. My 3-year-old date had a fine time, pronouncing the movie "very good" and backing up her assessment by going 90 minutes with barely a fidget. Which may actually be the highest compliment any movie can ask for.
  53. Director James Ponsoldt — who did the very good "The Spectacular Now" and "Smashed" — is great at visuals, peppering the screen with glowing tweets and comments. He overplays the comedy, though, and underplays the mystery — there's never a feeling that Mae is in real danger.
  54. Filmmaker Steve Anderson stuffs an astonishing 800-plus mentions of the F-word into this 90-minute documentary. When the spectacle ends, the same question lingers: Why?
  55. The story's unnecessary and unconvincing Russian spies are out of "Rocky & Bullwinkle," but Blair is quite enjoyable as a sassy, capable idealist.
  56. Slight Canadian coming-of-age drama.
  57. Wenham and Porter are appealing actors, and Teplitzky's depiction of their coupling has an unflinching realism.
  58. Watch out for space junk.
  59. The movie clearly portrays how the glory and salvation of being a team hero is ephemeral.
    • New York Daily News
  60. Lawrence's co-stars are more than ready to provide salty humor while creating a loose, almost improvised feel.
  61. Has so many ideas working in it that they all but suffocate its thin plot.
  62. Generally, one expects political thrillers to offer a little more suspense or excitement, so when this is such a deathly dull affair, you wonder what you might be missing.
  63. Among the cast, Chandrasekhar is easily the funniest of the Lizards, though in fairness, each has his moments. The movie does, too; just expect them to shrink exponentially depending on your level of sobriety.
  64. The movie tends to wander between story lines and characters without any real sense of purpose.
  65. The hand-held camera is much too insinuating for what is essentially a story we have seen many times before. And the cuts and transitions are dizzyingly abrupt.
  66. So French you may have to buy your ticket in euros, Christophe Honoré's musical trifle feels ready-made for emotionally woozy undergraduates.
  67. Director Jodie Foster's Money Monster runs a trim 98 minutes, but it's still not quite worth the investment.
  68. Makes you appreciate opera, or NoDoz.
  69. The tone remains uneasily divided between lightly realistic character comedy and the darkest, chilliest kind of farce.
  70. Three movies in one: a spaghetti Western, an urban drama and a historical epic. All of them suffer from self-indulgent direction, a convoluted script and awkward acting.
  71. The French may be guilty of some bad behavior, but that's no reason to punish them with the shapeless, deceptively crass Le Divorce, a Merchant-Ivory production in which all things Gallic are reduced to quirks of snobbery, misogyny and haute selfishness.
  72. The brutally ironic ending, I might add, won't make anybody very happy about having chosen The Mist for their evening's entertainment.
  73. as stunning and changeable as that Tuscan countryside. Without her, this movie would be irksome, pandering as it does to stereotypes, including that of the American woman who goes abroad for easy sex with limpid-eyed hunks.
  74. It has incest, sweaty armpits, nipple rings, drool, an amputee, a stroke victim and an engagement ring stuck in a sticky place. And Heather Graham. All that, and it's not very funny.
  75. There’s a surprising lack of provocation to this determinedly positive portrait. As a result, the movie often feels like a full-length ad for a great workplace, which just happens to stash whips and chains in the stationery closet.
  76. An ongoing problem is the complete lack of chemistry between the leads.
  77. Chronicles of Riddick is half cheesy, brawny adventure and half … something else. That something else involves a lot of leather, bondage, studded armor and heavy machinery.
  78. This fictional "what if" scenario is a bit campy and stagey, like a session of Opera 101. But it has one great thing in its favor: Ardant.
  79. Every woman falls for the wrong guy at least once in her life. This week, it's Betty Thomas' turn.
  80. Ralph Fiennes has faced a lot of acting challenges in his career, but playing a New York Republican who could win an endorsement from Susan Sarandon might be the toughest. Mostly, he handles the task by simply smiling warmly throughout, and gets away with it.
  81. While the cast members, Dick and Prinze in particular, have fun with Robert Moreland's sassy script, the exaggerated, unappealing animation seems to belong to another movie altogether.
  82. Come to think of it, 84 minutes isn't much of a sacrifice for a few laughs, even if the material is almost as hit-or-miss as our heroes' shooting skills.
  83. Its crazy non sequiturs and anything-goes performances do lend it a certain cult appeal.
  84. Valentine's Day is sugary, sappy and totally predictable. It's also what a whole lot of women are likely to want.
  85. Undertow becomes unbearably imitative and predictable. It's a kids-in-peril B horror movie in the guise of an art film.
  86. Saga too arty for own good.
  87. There's plenty to appreciate here but the story is tedious and some of the overacting runs into cultural translation problems.
  88. A ­movie that takes impartiality to new places artistically. The film is infuriating.
  89. If Sacred Planet helps kids appreciate the beauty and wonder of nature and animal life, it will be worth it. But surely civilization can come up with a more generously entertaining delivery system.
  90. Sadly, once the movie shifts gears, it becomes a timid "Donnie Darko."
  91. McAvoy is unerringly charming as Rory, a man who quickly discerns and dismisses well-meaning condescension. So one can't help wondering what he would think of this film, whose sentimentality comes across as smug.
  92. Despite its good intentions, Whiteboys -- a serio-comic examination of hip-hop's influence on suburban white youth -- comes off as little more than a fleshed-out skit.
  93. Grueling and bleak, but not unintelligent...although it's hardly groundbreaking just because everyone's face gets pulpy.
  94. Unless you're seriously into the post-"Matrix" culture, which includes books, games, animation and interactive Web sites, or you believe the Wachowskis have a philosophy worth wading through, the two-part sequel adds nothing indispensable to the first story.
  95. Director Christopher Spencer’s biblical yarn lacks the complex rigor of Martin Scorsese’s “The Last Temptation of Christ” and the fury of Mel Gibson’s “The Passion of the Christ,” leaving its star, Diogo Morgado, stuck in a film that’s stiff and earnest.
  96. Paparazzi is for anyone who's ever wondered how good it would feel to knock down a photographer with his car and then back over him.
  97. Pure grindhouse, so committed to its own junkiness that it is, in its way, a pleasure to behold.
  98. Failure to Launch sounds like really bad Oscar Wilde, but it's not that good. You are not supposed to dislike anybody here.
  99. Despite some clever early fantasy scenes, Shari Springer Berman and Robert Pulcini's adaptation of best seller The Nanny Diaries won't make Bridget Jones give up her writing.

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