New York Daily News' Scores

For 6,681 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 6.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 The Avengers
Lowest review score: 0 Ender's Game
Score distribution:
6681 movie reviews
  1. Director Danis Tanovic never undersells the anger and tension in the family, yet while the emotional underpinnings feel raw, much of "Cirkus" also winds up spinning 'round to obvious, if uncomfortable, places.
  2. Pay close attention to the title of Tom Shadyac's documentary. He will try to convince you his film is about humanity uniting to solve its problems. But somehow, his own ego keeps getting in the way.
  3. Janssen's affectionate, almost-1970s-style view of innocents-at-large may not be polished, but earns points for being from the heart.
  4. The original title of Jess Manafort's directorial debut was "The Beautiful Ordinary," and she shouldn't have changed it. After all, her cast is beautiful and her movie is ordinary.
  5. Digs up familiar ground without adding any fresh dirt.
  6. This stoners-meet-government-assassins mashup is as meandering and paranoid as a guy toking up in front of City Hall. Sometimes that’s amusing, but most of the time it’s tiring.
  7. If "Ice" never really solidifies, it's nonetheless the work of a filmmaker whose seriousness is worth watching out for.
  8. When boxing cliches work, they can deliver a knockout. When they don’t, as in Southpaw, we get just punch-drunk.
  9. 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.
    • 59 Metascore
    • 40 Critic Score
    This gossipy, affectionate movie about the daughter of Jewish Ukranian immigrants’ rags-to-riches story and her survival as a star into the mid-1960s is a lot of fun. But it doesn’t get under her skin.
  10. Without a satisfying resolution, the movie ultimately sheds very little light on its own subject.
  11. The Assignment is a movie about a heartless assassin, a mad doctor and a forced surgery. But it’s the movie that should be sued for malpractice.
  12. Now Bell can break out of the genre. She's served her time.
  13. Super starts off feeling like a cult comedy you might catch during a midnight film festival. But since Gunn never nails his tone, the concept makes more sense than the execution.
  14. This is just one nutso, painfully unfunny family flick.
  15. This old-fashioned sword-and-sandal drama has all the bread and circuses we've come to know from the movies. It flirts with interesting story choices, but ultimately, all roads lead to boredom.
  16. It's simply a blandly shot recording of Michael Flatley's musical revue, as performed overseas.
  17. Why doesn’t Wendy Vanden Heuvel do more film? As Clair’s cranky cousin Alice, she does more acting with a smirk and a turtleneck than the rest of the cast combined.
  18. The Canyons has more in common with Schrader’s opulent immoral tableaux “The Comfort of Strangers,” “Auto Focus” and “The Walker” than with his other work (including the script for “Taxi Driver”). It’s weaker than those, though, and less biting.
  19. Luckily for Hello, My Name Is Doris, Sally Field is still so likable, really likable.
  20. An uncharacteristically stiff Mortensen can't break free from the clichés that constrain his character, who feels more like a symbol than a real person.
  21. Marshall shows off the breathtaking landscape, but with interiors, he populates the ale houses and encampments with cliches - like dueling female warriors, one a mute and the other a white-haired vixen.
  22. Director Juan Feldman trusts his actors to charm us, which they do — up to a point. But there’s only so much that can be wrung out of this spinster-meets-exotic stud, “Summertime”-lite affair.
  23. Though they lack chemistry as a team, it's gratifying to see both Perry and Burns stretching in ways they haven't before.
  24. For all the talent involved, the overall effect is surprisingly flat. Foxx appears disconnected, Byrne is wasted and a painfully hammy Diaz seems to be in another movie altogether.
  25. Though much of the film's power is tamped down by the passive storytelling style, Dillane's performance as the adult Jakob is compelling, and Ayelet Zurer is beguiling as Jakob's late-in-life soul mate.
  26. Hopped up like a Bugs Bunny cartoon on mescaline and as chatty and uppity as a 5-year-old, Burn After Reading could be seen as the Coen brothers' need to let loose after the tightly wound "No Country for Old Men."
  27. Smith ("American Movie") sees the poetry in everyday people, and lets his rambling story find its own rhythm.
  28. Watch closely and you might even spy a better film inside, straining to break free.
  29. In the end, Albert’s biggest problem isn’t the threat of coyotes or cholera. It’s that he’s being played by the wrong guy.
  30. More cold fish than cold-blooded, director Alain Correau keeps his movie buttoned up and predictable.
  31. What makes the calculated sentimentality palatable is Curtis’ intelligent assurance as he guides us through each step. It’s a gooey indulgence, to be sure, but one that will please anybody with a cinematic sweet tooth.
  32. Descends with dismaying speed into clichéd Southern melodrama.
  33. The real problem is that this eager-to-please debut never quite achieves its own, more modest ambitions.
  34. There's barely half a film here, stretched and pulled so thin you can nearly see through it.
  35. While I fully support the appearance of a new Madea movie every six months, even Tyler Perry can't be bothered to take this setup seriously.
  36. Writer-director Will Slocombe presents a familiar buffet, but there’s good stuff to pick over.
  37. So what's the problem? A hundred small annoyances, including storylines that peter out into inexplicable dead ends, others...that drone on too long, a dozen too many reaction shots from Hannah's dogs, important characters whose motivations are unclear, and a lack of romantic chemistry between Hannah (Rebecca Hall) and Andrew (Jason Sudeikis).
  38. not a good comedy. But there's no airbrushing out the funny surrounding its star.
  39. Some parents are mellow, and others have instilled emotional problems in their children. This less-than-illuminating work resembles the spelling-bee doc “Spellbound,” only with a promise of high-end endorsements and far more pampering.
  40. The dissection and discussion, though well-intentioned, winds up lifeless.
  41. 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.
  42. Hop
    As fake and forgettable as a marshmallow Peep, Hop goes down easy enough.
  43. Gugino is having a ball, but every scene feels like an oh-so-arch one-act.
    • 65 Metascore
    • 40 Critic Score
    Jordan's screenplay aims for a romanticism that the beautiful but stiff Bachleda is unable to fulfill. And the ending, which injects the film's dreamy sensibility with an ugly note of realism, crashes over everything like a frigid wave.
  44. It's a mess from start to finish, but there's still fun to be had in Rob Minkoff's caper comedy.
  45. This stately chiller owes a lot to 1960s British flicks like "The Innocents" and "The Haunting," but unfortunately heads towards cliches with every step.
  46. Director Tate Taylor, who neatly wove together women’s stories in “The Help,” is out of his depth with a thriller. He fills the screen with endless close-ups but not a lick of tension.
  47. Like a lemon that's been tricked out with a fancy paint job, Fast & Furious won't stand up to much scrutiny under the hood.
  48. This rambling, unfocused, shuffling documentary paints the famous standup in broad strokes, only occasionally providing worthy examples of how Winters inspired generations.
  49. It put-puts along like a moped in busy traffic, content to amble around but not go anywhere.
  50. Dagur Kari both wrote and directed, so he has no one else to blame for so little originality. Neither does his hard-working cast, all of whom deserve better.
  51. Perfectly inoffensive and almost entirely unfunny, Paul Blart: Mall Cop is more of a numbing experience than a painful one.
  52. From the insistently discordant score to each overthought shot, this triad of stories feels self-conscious and deliberately arty rather than heartfelt.
  53. Feels stagy and anti-visceral.
  54. When "Pineapple" goes from ganja to genre, it sours.
  55. Comedy characters change and grow. Sometimes, as we see in Tyler Perry's A Madea Christmas, they become so much like old relatives that their edge is gone.
  56. Unfortunately, there’s a more potent power present here: dullness.
  57. The big problem here is that dark sci-fi satire works best when it aims for several targets. Repo Men aims at corporate greed, which is good, but doesn’t fill in the details.
  58. Never achieves the David Lean style of epic it aims for - exterior vistas and interior dramas - but it has two charismatic performances, beautiful Chinese locations and an admirable lack of sentimentality.
  59. Overshoots the mark by spinning its implausible, hyperviolent tale around too tight a family circle.
  60. Concludes in a shower of ashes, which is fitting because this movie is a billowing bonfire of ugly human behavior. Rarely have there been so many characters in need of timeouts, cold showers or house arrests.
  61. The good news for Carey is that she gets to prove she's a pretty decent actress after all. The bad news, of course, is that she's done it in a movie no one has any other reason to see.
  62. Demolition is a wreck.
  63. If The Conjuring were less of a con job, horror fans would not feel equally as trapped.
  64. Maddeningly mundane, this Romanian drama aims for an antiseptic look at random violence and, unfortunately, achieves it.
    • 28 Metascore
    • 40 Critic Score
    Supremacy is so grueling an ordeal that its revelations barely penetrate the murk.
  65. That Awkward Moment is eminently forgettable — but worth remembering as Poots’ moment.
  66. The 6- to 10-year-old audience this movie is aimed at deserved better.
  67. Think of Mansome as the equivalent of a $10 manicure: It'll modestly enhance your day without making any lasting impact.
  68. The only thing more boring than this comedy about two colleagues on a layover in Albuquerque might be an actual layover in Albuquerque.
  69. What a letdown it is to see this spellbinding, era-defining story tamed into such stodgy submission.
  70. Brad Leong’s “quirky” romantic comedy retreads ground that is already so well worn, everyone just slides right through.
  71. True, the movie's intense, and Jovovich is certainly in fighting shape. But after 15 years of this franchise, it's getting hard to tell Alice from the things she's fighting. It's all squint and grunt, slash and groan.
  72. The movie doesn’t weave religion into the familiar structure of a comedy or melodrama. Instead, everything works in service to the sermon at the core. For most audience members, that will either be the primary draw or an inescapable drawback.
  73. Although Kutcher deserves some ­credit for trying to spread his professional wings, it quickly becomes clear that he's in over his head.
  74. Built on an amusing idea that can't quite support an entire movie, Wayne Price's comedic debut might have made a terrific short.
  75. After a promising start that uses Anna Paquin and Kristen Bell to perfection, they settle into their old stomping grounds as if they'd never left - and that turns out to be a letdown.
  76. Actors are left with too much time to play emotional symphonies, while inevitably having to hit too many required notes.
  77. Don't expect to taste anything surprising.
  78. The Edge of Love may be intended as a biopic of Welsh poet Dylan Thomas, but it’s destined to be remembered as the movie that brought Keira Knightley and Sienna Miller into the same bathtub.
  79. Predators tries to spice up the hunt-or-be-hunted thesis, but from the get-go, director Nimrod Antal's movie has nowhere to run.
  80. While its tone and humanity offset the futility of each side's need for one crucial hill, much of this intense, honorable film is too drawn-out.
  81. Cenac is witty and Heggins has a wary stillness, but the movie itself seems too shy to let them really engage each other.
  82. Proudly matter-of-fact but, sadly, far from gripping.
  83. With all of the city available, she made the curious choice to follow couples who are neither unique nor especially memorable.
  84. If last year’s searing old-age tragedy, “Amour” — or 2006’s bravely blunt “Away From Her” — weren’t digestible enough for you, perhaps this mild romance will suffice.
  85. Despite the overwrought plot and unabashed pretension, there's something admirable about the fact that Coppola clearly made this movie for himself. But he shouldn't be surprised if few others join him in watching it.
  86. It’s McCarthy’s complex use of language, rather than the plot’s grueling imagery, that elevate the book. There’s simply not enough insight here to make the punishment worthwhile.
  87. The plot line quickly becomes incomprehensible, and the movie, directed in sleek music-video style by Michael Bay, comes to suggest a very long night on Fox-TV. [7 April 1995, p.56]
    • New York Daily News
  88. Franco himself is ponderous playing Williams, which tends to overwhelm everything. A cool concept, and A for effort.
  89. The not-funny-enough dialogue can’t mask writer Kroll’s unoriginal plot.
  90. An excellent Keener commits reliably to the role and does give us moments worth savoring. But the underwritten script and misguided direction leave her stranded.
  91. We will simply be grateful she (Lawrence) is here, and thus able to turn generic junk into mildly interesting junk.
  92. There’s no fleeing the clunkiness in No Escape.
  93. Its young heroine is proud to be herself; there's just not much for her to do beyond that.
  94. Director Jonathan Sobol clearly understands the first rule of a good grift: misdirection. He packs his middling caper flick with so many known faces, it’s easy to miss all the other familiarities.
  95. Ever catch yourself thinking, "Man, I wish beer commercials lasted just 104 minutes longer"? The Farrelly brothers are ready to make your dreams come true.
    • 44 Metascore
    • 40 Critic Score
    They say any group is only as strong as its weakest link. Well, the weak link in This Is Where I Leave You is the film in which the appealing cast members are stuck.
  96. Even taken on its own, this story of Graham (Poe), a single New Yorker feeling his way toward adulthood, feels like a promising college project that wasn't ready for the real world.

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