New York Daily News' Scores

For 6,616 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 6.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Toy Story 3
Lowest review score: 0 Filth and Wisdom
Score distribution:
6616 movie reviews
  1. The pacing is so tedious and the action so unexciting that it's a real thrill when J.K. Simmons shows up as a wry alien expert — and a huge disappointment when he disappears a few minutes later.
  2. Tooth Fairy's script -- which was written by five people -- is lousy, and the direction, by Michael Lembeck, is weak.
  3. If only they had more screen time. The film’s core problems: too little zombie and too much plot. The upside, though, is McColgan as Lu. Chafing against her small world, McColgan is cute, charming and clearly someone to watch.
  4. Amiable but ambling.
  5. John Cleese, Michael Palin and Chapman himself (courtesy of interviews, skits and various recordings he made before his death from cancer in 1989) chime in. It's an odd little trip, but if it weren't, one would have to ask, "Well what's all this, then?"
  6. While W.E. cannot be counted as a successful directorial effort, there are genuine elements of interest here. The most notable is a nervy central performance from Andrea Riseborough, who plays true-life Baltimore socialite Wallis Simpson.
  7. Gently sweet but unmemorable bonbon.
  8. The deepest chord is hit by Cattrall, who almost manages to wipe away the memory of "Sex and the City 2."
  9. Slightly mesmerizing performances from Larry and young Shnaidman just manage to sustain interest in this quiet story. Even if it’s going nowhere.
  10. Combining the dysfunctional family reunion and the home invasion thriller, You’re Next tries, somewhat valiantly, to add new twists to the usual bloody horror-flick shenanigans. But aside from a few fresh chords, it’s same-old, same-old.
  11. Flow makes you thirsty for more information.
  12. Like the last gift buried under singing Billy Bass fish, dancing Coke cans, joke books and mounds of wrapping paper, there's a glimmer of fun in Four Christmases that almost gets vacuumed up with the tinsel.
  13. A well-shot but generically dull disappointment.
  14. Informative and flavorful, though lacking in surprise.
  15. Ivory appears most concerned about creating a mood, and in this regard he's successful. But Ruth Prawer Jhabvala's surprisingly bland screenplay, based on Peter Cameron's novel, feels half-finished
  16. This heavy-handed movie is simply a sermon its makers think we all should hear.
  17. While some documentaries are broad enough in theme and creative enough in style to attract a wide-ranging audience, others remain best-suited to a smaller group of devotees. Such is the case for Peter Rosen's biography of violinist Jascha Heifetz.
    • 34 Metascore
    • 40 Critic Score
    Duhamel is goofy and harmless, but unlike Ryan Gosling in “Notebook,” adds no texture or subtlety. Hough (“Footloose”), while photogenic, is similarly bland.
  18. Unfortunately, "modern" additions (like the soldiers' YouTube videos and some social media moments) feel clunky, and a necessarily shortened approach trips the movie up, though leads Matt Doyle and Seth Numrich - accomplished Broadway actors - are intense, engaged and appropriately tragic.
  19. The only grace notes come from Noah Wyle and Peter Bogdanovich as the two characters who refuse, in different ways, to buy the industry line.
  20. Despite the calculated advance press about the movie's nudity, polygamy, dirty talk, etc., David Wain's comedy is depressingly banal. And all that breathless hype now feels like nothing more than manipulation.
  21. Though it eventually gets down to more serious business, this Glasgow-set apocalyptic romance-drama seems, at first, to be most concerned about whether restaurants will survive the end of the world.
  22. Rickards tries hard in a difficult role and Greg Germann offers nice support as an empathetic neighbor. But like her character, it's Broderick who keeps things from falling apart.
  23. It's a shame, though, that the movie also features stereotyped or retrograde attitudes towards Jewish, gay, and female characters. Perhaps Van Peebles' kids could school their dad on the virtues of across-the-board respect.
  24. Stonewall may be about coming out of the closet, but it wants to play it straight.
  25. Roth and Hurt glower semi-engagingly, and while Norton's scrawniness works, he seems intellectually disengaged, despite his helping to craft Zak Penn's script.
  26. If all you want is a bullets-and-bombs B-movie, you'll get your money's worth: Somehow, Hayward makes 82 minutes feel like hours.
  27. Despite the movie’s flaws, Cicin-Sain does show considerable confidence for a first-time writer and director.
  28. True, the Boys are thoughtful and eloquent, and the whole package is engaging enough to hold even a newcomer’s attention, but the end result is an incomplete story of a forgotten band hoping to celebrate — or should I say sell-abrate — an anniversary no one else remembered.
  29. What do we do about a movie that is half compelling and half unwatchable? Director Charlie Stratton seems to be onto something at the start of his period drama In Secret. Then it all slips through his fingers.
  30. Roth's works are particularly hard to do justice to onscreen, perhaps because the celebrated author's personality is really in his words
  31. Having carried the mediocre smash “Divergent,” Shailene Woodley now uplifts another underwhelming teen thriller. This one’s as tiny as that one was huge.
  32. Since Dornan is as dull as a catalog model anyway — he wanders through the movie like an Abercrombie searching for his Fitch — the shopping-list look of the movie makes sense. But Dakota Johnson deserves better.
  33. Half amusing and half appalling, Matthew Vaughn’s shameless spy caper Kingsman: The Secret Service is ultimately done in by its own hypocrisy.
  34. Sam Worthington and Jim Sturgess are solid as two of the four kidnappers, but Swedish director Daniel Alfredson pushes the caper button too many times. More sly wit would have helped things come to a head.
  35. A story that never finds a reason for its own existence.
  36. While they have all the materials needed for a sharp satire, they're too timid to arrive at any real revelations.
  37. Much of the young cast - especially a miscast Page - make the oft-repeated mistake of saying Allen's dialogue as he might say them; the result is a lot of hyperarticulation, stammering and gesturing.
  38. What "The Exorcist" might look like if Madonna rewrote it, this silly fright flick finds college student Casey (Odette Yustman) haunted by a Kabbalistic demon.
  39. Neeson's better than this. You can't watch him here without thinking, Geez, every fight-choreography session could have funded "Love, Actually." This bash-the-door-down action scene likely took as long to film as "Kinsey." That gunfight required more stunts than all of "Schindler's List."
  40. Words and Pictures doesn’t get the dunce-cap award, but it does lose points for feeling phony and contrived — especially during the moments when it appears overly proud of what it is.
  41. Jig
    Director Sue Bourne belabors the judges' final decision to such an excruciating length, it makes the whole movie feel a bit more cloddish than it should.
  42. Something has surely gone wrong when there is not a single moment in Ice Age: Continental Drift that equals the four-minute "Simpsons" short that precedes it.
  43. "Grace" may be based on a true story, but barely a moment in it feels real.
    • 51 Metascore
    • 40 Critic Score
    The real stunner of Worlds Away is how it could afford to use so many Beatles songs.
  44. The story and performances (save for Matthew McNulty’s angry Luis Buñuel) are paint-by-numbers, with social upheaval and sexual adventurism as dramatic as an after-dinner mint.
    • 41 Metascore
    • 40 Critic Score
    Chappie is as subtle as a sledgehammer. The latest sci-fi action spectacle from “District 9” and “Elysium” director Neill Blomkamp is also sprawling, bombastic, deafening, ugly and ultra-violent.
  45. All the actresses, especially Theron, are appropriately haunted, but let's hope Arriaga's love of echoes, fate and coincidence has run its mopey course.
  46. What remains rote is how easily the fiend’s victims fall for his tricks. It’s almost as if they’ve seen too many movies like The Barber, and shaved away all common sense.
  47. Earth to Echo is a copy of a copy. The movie feels less like a weak “E.T.” than a substandard “Mac and Me.” And you may not even remember the latter, a 1988 flop — the fate likely to hit this well-meaning but underwhelming effort.
  48. You know what you’re going to get, and that is, indeed, what Sandler delivers. It’s juvenile, it’s obvious and it’s crass. But with Sandler at the helm, at least it’s as easy to like as it is to forget.
  49. It's a shame, of course, that Madden brought the best to such an exotic Top locale without making the most of the opportunity.
  50. This sequel to last year’s surprise buzz-maker takes the same appreciative approach to scare-flick tradition: Take hipsters, mix into classic genre riff, goose until ludicrous; repeat. Not every try is successful, but as with any anthology, if you don’t like one, sit back and wait for the next.
  51. It's hard to talk about The Soloist without falling into cliches, because this well-meaning but ham-handed drama is full them.
  52. Once Quale and writer John Swetnam get their generic setup out of the way, they can loosen up and treat the tornadoes like the villains they are. The effectively simulated storms, with their massive wreckage, start to feel like monsters stalking the heroes.
  53. Crisply directed but inescapably pious and, worse, narratively poky.
  54. Faour and Muallen give solid performances, but there are a few too many by-the-numbers moments.
  55. Along with Moore, all of them deserve some kind of credit for committing to a movie barely six souls will ever even see.
  56. Blood Wars concludes with the threat of further sequels, but this is clearly one franchise that's been fully drained of its blood.
  57. While Diaz and Kutcher make their clichéd characters as likable as possible, you can bet on this: Any movie named after an already-stale ad campaign isn't likely to gamble on the unexpected.
  58. Unabashedly one-sided, this biography of Chávez - and several other Latin American politicians - does raise some valid concerns about what Stone calls the "manipulative power of the media." So it's too bad he's as guilty of partisanship as the right-wing outlets he reviles.
  59. In Keeping up with the Joneses, I was unable to focus on Hamm's comedic efforts, so interested was I in the ever-changing cinematography of his slick black hairstyle.
  60. It's a big fat missed opportunity.
  61. Tolan writes regularly for smart shows like "Rescue Me," but his best instincts deserted him when he set his sights on the big screen for the first time.
  62. If you go in knowing what you're getting, you should come out relatively satisfied. Our hero vigorously beats up a parade of bad guys. Lots of bullets fly. There are a couple of decently plotted thefts. And to tell the truth, Statham's Southern accent is nearly worth the price of admission itself.
  63. This contemplative drama draws strength from day-to-day ordinariness and a terrific lead performance from Paul Eenhoorn, yet sadly falls short.
  64. It's all angst and no adventure, a lot of fury and little fun.
  65. Mostly, though, you'll appreciate Grenier, who approaches this minor project with hilarious and generous abandon.
  66. The cast gives it all a good go, and pip-pip and all that for noticeable intelligence and a bit of the old British satire. Yet Salmon Fishing takes patience and rewards with no bite.
  67. With its cash-flashing men and dirty-talking women, the movie already feels dated. But it wouldn't have been much fun five years ago, either.
  68. Unfortunately, the movie doesn't have enough going on to keep us engaged, but writer-director Aaron Katz has a confident style and a way with small moments.
  69. It’s a mystery as to how so much talent combined to create such a cynically superficial product.
  70. Though coming off at times like Adam Sandler’s “Grown-ups,” only with Oscar winners, Last Vegas is a genial little comedy for the crowd it’s intended for.
  71. Mood is more important to Not Fade Away than anything, but writer-director David Chase, who turned mood into masterpiece with every season of "The Sopranos," allows nostalgic feeling to be the sole reason for this, his first feature film.
  72. Nowhere near as kinky or thinky as Soderbergh’s "sex, lies and videotape," Girlfriend pretends it has more on its mind than it really does.
  73. Any story about Suu Kyi's extraordinary life is worth seeing, simply to learn more about her. Even so, such a rare individual deserves a film that treats her not as a saint, but the remarkable, complex human being she actually is.
  74. The emotions are florid and the entanglements heated. But the film become preoccupied with, as Flaubert would say, the pettiness and mediocrity of daily life. Arterton, though, is plushly magnetic. She draws us in despite the overly lyrical atmosphere.
    • 66 Metascore
    • 40 Critic Score
    Begins as a vibrant and uplifting tale about exploration and discovery, then quickly turns into a soul-crushing lament about bureaucracy and defeat.
  75. There's a funny movie scratching at the edges of This is 40. Unfortunately, writer-director Judd Apatow sees himself as the John Cassavetes of Comedy, so every time that funny movie starts to emerge, Apatow tramples it with scenes of domestic irritation.
    • 32 Metascore
    • 40 Critic Score
    Club Life is a flat, disjointed drama that’s buoyed by a couple of good performances. Your mileage may vary depending on your interest in dance montages.
  76. Diesel is the star (as well as a producer), in every scene. And he drags the film down with him.
  77. Even if you overlook the lousy lighting, awkward editing, and uneven acting, there's so much talking -- and so little story -- that your mind is likely to wander.
  78. You must really love a movie if you decide to remake it just three years after its release. But unless you also intend to improve upon the first attempt, what's the point?
  79. The effects are so omnipresent it's like Reynolds' perfect hair is floating in CGI limbo. Yet when they need punch, as in a "Superman"-ish display-of-powers scene involving a helicopter, there's no flair.
  80. This film - like all the Madea-free dramas - could use more humor. Still, every Perry movie has its highs and lows. This time, the highs are a little higher, and the lows not quite so low. There is no faith-based message, but the moral is obvious: persistence pays off.
  81. Imagine a quietly creepy "X-Men" prequel -- in French -- and you have this odd little parable.
  82. Any urgency the movie has comes from co-star Terrence Howard, a firebrand of an actor who can’t be contained by a paint-by-numbers script.
    • 56 Metascore
    • 40 Critic Score
    Joy is joyless.
  83. So now we have a full-length Machete movie, and it turns out that, as usual, less is more.
  84. Remember “Olympus Has Fallen”? This one is worse.
  85. Unfortunately, Madsen (a Danish filmmaker, not the American actor) has an approach to this rich topic that is repetitive and simplistic, as if he wasn't quite sure how to fill out even a brief feature.
  86. Unfortunately, despite the sweaty, tense atmosphere, Viva Riva becomes derivative of the duller scenes in other gangster flicks.
  87. Only DeWitt looks at home, but Shelton allows “Touchy Feely” to be so wishy-washy that we can never get a hold of the star, or the movie.
  88. Give Lawrence credit for a seriously emotional performance, at least, and thanks to supporting actors Moore, Sutherland and a sly Woody Harrelson for adding color and comedy.
  89. All the low-hum, behavioral buffoonery gets a bit tedious. Still, cheers to Cross for the satirical road he covers, even with all the potholes.
  90. The criterion couldn't be simpler: does a 20-minute martial arts battle featuring Thai superstar Tony Jaa sound like the ideal way to spend your time and money? If not, move on.
  91. Daniel Cohen’s genial French comedy is as airy as a soufflé. Alas, it’s not nearly as satisfying.
  92. Regardless of where its stars want to take it, all roads here lead to blandness and inanity.
  93. The movie is designed not to explore the experience of illness, or first love, or adolescence, but merely to make us swoon, sigh, and sob.
  94. So much of this irritating film from first-time writer-director Daniel Barnz feels like a writing exercise it's amazing Elle Fanning, in the title role, comes off as well as she does.

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