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 95 Miles to Go
Lowest review score: 0 Awake
Score distribution:
6757 movie reviews
  1. Writer-director Will Slocombe presents a familiar buffet, but there’s good stuff to pick over.
  2. 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).
  3. not a good comedy. But there's no airbrushing out the funny surrounding its star.
  4. 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.
  5. The dissection and discussion, though well-intentioned, winds up lifeless.
  6. 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.
  7. Hop
    As fake and forgettable as a marshmallow Peep, Hop goes down easy enough.
  8. 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.
  9. It's a mess from start to finish, but there's still fun to be had in Rob Minkoff's caper comedy.
  10. This stately chiller owes a lot to 1960s British flicks like "The Innocents" and "The Haunting," but unfortunately heads towards cliches with every step.
  11. 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.
  12. 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.
  13. This rambling, unfocused, shuffling documentary paints the famous standup in broad strokes, only occasionally providing worthy examples of how Winters inspired generations.
  14. It put-puts along like a moped in busy traffic, content to amble around but not go anywhere.
  15. 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.
  16. Perfectly inoffensive and almost entirely unfunny, Paul Blart: Mall Cop is more of a numbing experience than a painful one.
  17. From the insistently discordant score to each overthought shot, this triad of stories feels self-conscious and deliberately arty rather than heartfelt.
  18. Feels stagy and anti-visceral.
  19. When "Pineapple" goes from ganja to genre, it sours.
  20. 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.
  21. Unfortunately, there’s a more potent power present here: dullness.
  22. 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.
  23. 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.
  24. Overshoots the mark by spinning its implausible, hyperviolent tale around too tight a family circle.
  25. 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.
  26. 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.
  27. Demolition is a wreck.
  28. If The Conjuring were less of a con job, horror fans would not feel equally as trapped.
  29. 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.
  30. That Awkward Moment is eminently forgettable — but worth remembering as Poots’ moment.
  31. The 6- to 10-year-old audience this movie is aimed at deserved better.
  32. Think of Mansome as the equivalent of a $10 manicure: It'll modestly enhance your day without making any lasting impact.
  33. The only thing more boring than this comedy about two colleagues on a layover in Albuquerque might be an actual layover in Albuquerque.
  34. What a letdown it is to see this spellbinding, era-defining story tamed into such stodgy submission.
  35. Brad Leong’s “quirky” romantic comedy retreads ground that is already so well worn, everyone just slides right through.
  36. 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.
  37. 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.
  38. Although Kutcher deserves some ­credit for trying to spread his professional wings, it quickly becomes clear that he's in over his head.
  39. Built on an amusing idea that can't quite support an entire movie, Wayne Price's comedic debut might have made a terrific short.
  40. 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.
  41. Actors are left with too much time to play emotional symphonies, while inevitably having to hit too many required notes.
  42. Don't expect to taste anything surprising.
  43. 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.
  44. 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.
  45. 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.
  46. Cenac is witty and Heggins has a wary stillness, but the movie itself seems too shy to let them really engage each other.
  47. Proudly matter-of-fact but, sadly, far from gripping.
  48. With all of the city available, she made the curious choice to follow couples who are neither unique nor especially memorable.
  49. 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.
  50. 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.
  51. 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.
  52. 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
  53. Franco himself is ponderous playing Williams, which tends to overwhelm everything. A cool concept, and A for effort.
  54. The not-funny-enough dialogue can’t mask writer Kroll’s unoriginal plot.
  55. 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.
  56. We will simply be grateful she (Lawrence) is here, and thus able to turn generic junk into mildly interesting junk.
  57. There’s no fleeing the clunkiness in No Escape.
  58. Its young heroine is proud to be herself; there's just not much for her to do beyond that.
  59. 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.
  60. 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.
  61. 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.
  62. Apparently, it takes a village - or the collection of villages known as Los Angeles - to go nowhere slowly.
  63. About the kinds of showbiz hangers-on seen in the background of a Scorsese movie, and it feels like those guys decided they were the real stars.
  64. A high-concept goof that’s hard-pressed to surmount its twee preposterousness.
  65. Jim Parsons is the sole bright spot in the cast as the alien hero, giving him the same halting confusion as he gives Sheldon on “The Big Bang Theory.”
  66. Thomas offers particularly fine work, but the underwritten script, which relies too much on sentimentality, gives him little to do.
  67. Westby's nervy story is like "Desperately Seeking Susan" played straight. Let's hope O'Grady's next film meets this one's potential.
  68. Like the bloated channels it parodies, the movie stretches to find something to say, then settles for stupid.
  69. There are times when a Kilmer performance is like watching a clock move: well-timed and oddly compelling, even though it's totally predictable. That's the case with Felon, which doesn't belong to Kilmer but which he steals anyhow.
  70. Fashionistas who flock to Whitney Sudler-Smith's documentary should pay heed to the entire title: this isn't simply the biography of an American icon, but the chronicle of a misguided filmmaker.
  71. The unexpected chemistry between Sam Rockwell and Olivia Wilde helps balance this sour noir comedy.
  72. Phillips sticks so close to the formula of his original that even the characters are given to saying things like, "I can't believe this is happening again."
  73. Duchovny tamps down his sardonic style to play a quiet guy, but the result is blandness. Timothy Hutton gives a solid turn as a standup businessman. In all, director Anthony Fabian isn’t sure how to build a nontreacly movie out of an inspiring true-life story.
  74. When writer and director are one and the same, there’s always a risk that the project will suffer from a lack of perspective. Indeed, in helming her blackly comic indie Miss Meadows, Karen Leigh Hopkins fails to fulfill the potential of her own script.
  75. There’s also little point and a garish quality that goes from pulp to junk fairly quickly, despite Pegg’s presence.
  76. Every generation gets a "Big Chill," and this tired but well-meaning indie contains many clichés of the "pals-pondering-life" movies that came before.
  77. The music will keep you in your seat, but there's so much more to this story. If only they'd gotten it right the second time around.
  78. Designed as their own entity, the brief subtitles convey so little that to get the full experience you won't only need to understand Godard's language. You'll also have to speak French.
  79. The Cold Lands is aimless and dull, but has a rich tone and upstate authenticity.
  80. When this film focuses on the work, it’s engaging.
  81. Fanning's watcher is watchable, yet the kid-actress extraordinaire is so polished it kind of makes your head explode.
  82. Hector wants to connect to our inner child, but it feels more like a long story from a good-hearted but dull grandparent.
  83. This movie has Chris Hemsworth, in between "Avengers" movies, and a lot of computer-generated sea life. It uses a lot of fancy lures, but it never hooks you.
  84. The final fate of Adolf ­Eichmann is certainly a compelling subject. But its dramatic impact is severely diminished here by stilted filmmaking and wooden performances.
    • 39 Metascore
    • 40 Critic Score
    Only Adam Brody is compelling here.
    • 24 Metascore
    • 40 Critic Score
    Director Raj Amit Kumar's bold but ultimately muddled attempt to address extremism and intolerance.
  85. Yen, who also choreographed the fights, is a natural hero, and the large canvas and pseudo-superhero tactics work for a bit, but then the action gets sidetracked in place of myth-building.
  86. 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.
    • 59 Metascore
    • 40 Critic Score
    Johnson’s film is filled with tedium instead of delirium.
  87. Italian prime minister Silvio Berlusconi is an ideal documentary subject, but Erik Gandini's jumbled take on Berlusconi's corrupting influence quickly shifts from good idea to wasted opportunity.
  88. His humor works best when it's throw-away, but "Zohan" throws everything up to get a yuck. It's a shock to see how many "yuck!" moments Sandler settles for.
  89. Calvary is like a philosophical Agatha Christie mystery. That’s certainly not the worst thing to be. But it’s also the film’s undoing, because the reliance on specific genre cliches undermines the movie’s more serious intentions.
  90. Despite the funny premise, Cooties doesn’t live up to its potential.
  91. This is an odd little directorial debut from Matthew Lillard - the onetime Shaggy from "Scooby-Doo," now a solid character actor thanks to "The Descendants" and "Trouble with the Curve" - but it has its rewards.
  92. No worse than the second. Still, it pales in comparison to the first, which starred Dolph Lundgren. And that, right there, should tell you everything you need to know.
  93. Perhaps afraid that watching a symbol of liberty repeatedly go boom isn’t enough, Emmerich and screenwriter James Vanderbilt add family drama, an attack on Congress, a plane crash and the possible nuking of the Middle East. What isn’t tonally jarring ends up shatteringly inept.
  94. There’s far too many moments of sabre-rattling, and too much confusion about who is aligned with whom, and why. Those who know and love Tolkien’s texts will have a vested interest. Everyone else may grow restless.

Top Trailers