New York Daily News' Scores

For 6,647 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 The Social Network
Lowest review score: 0 No Good Deed
Score distribution:
6647 movie reviews
  1. 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.
  2. 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.
  3. 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.
  4. 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.
  5. 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.
  6. 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.
  7. Diesel is the star (as well as a producer), in every scene. And he drags the film down with him.
  8. 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.
  9. 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?
  10. 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.
  11. 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.
  12. Imagine a quietly creepy "X-Men" prequel -- in French -- and you have this odd little parable.
  13. 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
    Joy is joyless.
  14. So now we have a full-length Machete movie, and it turns out that, as usual, less is more.
  15. Remember “Olympus Has Fallen”? This one is worse.
  16. 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.
  17. Unfortunately, despite the sweaty, tense atmosphere, Viva Riva becomes derivative of the duller scenes in other gangster flicks.
  18. 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.
  19. 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.
  20. 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.
  21. 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.
  22. Daniel Cohen’s genial French comedy is as airy as a soufflé. Alas, it’s not nearly as satisfying.
  23. Regardless of where its stars want to take it, all roads here lead to blandness and inanity.
  24. 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.
  25. 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.
  26. Sandler's shambling Yogi Bear-ness will be the big appeal to holiday-vacation audiences.
  27. A steady thrum of anger pervades this Romanian film even in its quietest moments, but the ending and captured-lost-boys setting ultimately fail to surprise.
  28. Though Wilson tries hard, none of the actors - including Terrence Howard as the detective who unravels this story in flashback is able to overcome the script's considerable deficiencies.
  29. While the actors are appealing, their weirdly co-dependent characters aren't. And they don't learn enough to balance out the bland, intermittently irritating nature of their adventures.
  30. Chico Colvard's tragic documentary is blunt and rather artless, but it does make for impactful, and deeply disturbing, viewing.
  31. Filmmakers Tia Lessin and Carl Deal utilize the footage Kim and Scott Roberts had taken throughout the disaster, showing how residents suffered, survived and came together to help when official assistance let them down.
  32. The splintered viewpoints help with the monotony, but from the taunting of new inmates to the cell-block sadist, we've gone through all this before, right down to the final twists.
  33. When the story does wrap up, it's all too little, too late, and far too long. Which given everything stuffed into it, just leaves the super-sized Triple 9 triply disappointing.
  34. Director Donald Petrie doesn’t have much to brag about here, but at least he gives us some nice scenery to look at.
    • 31 Metascore
    • 40 Critic Score
    This is a film about catharsis and camaraderie, not logic. For some, that — and a chance to see characters the movies often ignore — will be enough to join the club.
  35. Like Stallone, director Walter Hill is also far from his heyday ("The Warriors," "48 HRS.," "Streets of Fire"), but the old-guy camaraderie behind the scenes is evident. Despite the movie being based on a graphic novel, no one adds extra flash here just to appease the kids.
  36. Unfortunately, the stylistic repetition and intensely one-sided viewpoint only undermine his (Suleiman) goal.
  37. History can be an equalizer, so director Roland Joffe ("The Killing Fields," "The Mission") makes sure saints and sinners all get painted with the same uninteresting brush in this fact-based drama.
  38. Anyone looking for a date-night flick will be inclined to fall for Michael Dowse’s aggressively adorable What If. Just be warned: The single-minded determination to win you over may wind up pushing you away.
    • 36 Metascore
    • 40 Critic Score
    The supporting characters are lifeless vessels in a movie that fails to break away from the traps of the hit-or-miss romantic comedy genre.
  39. The story's Hitchcockian plot loses steam quickly, though Pinon's salty presence keeps things from getting totally bloodless.
  40. The International almost seems like a Monty Python spoof on spy-game thrillers in which the phrase "secret agent" is constantly replaced by "banker," resulting in lines like, "...If I die, 100 other bankers take my place."
  41. After three disturbingly violent films, this may be a concept that deserves to be purged.
  42. It's hard to imagine this was his intent, but David Mackenzie's minor romp manages to make being a rock star look like a distinctly unglamorous affair.
  43. There simply isn’t enough here to sustain an entire movie.
  44. The sequel to one of the most visually striking movies of the last 10 years continues the graphic novel-inspired landscape of its predecessor. But the characters don’t click, and the action feels dull.
  45. Its compelling conceit is immediately weighed down by leaden execution.
  46. While we're meant to feel claustrophobic, we're not supposed to fight boredom, which kicks in quickly.
  47. Knightley does fine work, but she’s been miscast. Her innate sophistication undermines the movie’s intentions right off the bat. We never believe her as Greta.
  48. Like a creaky Vegas act desperate to please, The Incredible Burt Wonderstone is so eager you can’t help wanting to like it. But you also can’t help wondering if something better is playing in the theater next-door.
  49. All In lays down some interesting hands but sometimes can't raise the stakes, though "Rounders" star Matt Damon lends a bit of celeb flash.
    • 58 Metascore
    • 40 Critic Score
    Seeing unexplored parts of our natural world in state-of-the-art 3-D is great. Listening to James Cameron explain how wonderful he is, while we see all that, is not.
  50. This well-intentioned but clumsy attempt to get into the head of one of the 20th century's most famous women remains full of hot air.
  51. Director Tina Gordon Chism, who also wrote the screenplay, seems to have relied pretty strongly on Perry for guidance. In particular, she rejects any notions of subtlety, either in the comedy or the weirdly heavy-handed messages about masculinity.
  52. Full of unenlightening snippets and blithe but banal asides, what the movie is missing is edge.
    • 58 Metascore
    • 40 Critic Score
    This one can't handle the pressure.
  53. Once upon a time, Black's charisma might have been enough to carry the movie.
  54. In truth, Musical Chairs is so simplistic it almost feels like a first film.
  55. The oldsters are feisty — a gun-totin’ granny is played by Pussy Galore herself, “Goldfinger’s” Honor Blackman — but the shtick’s as flat as old ale. It is bookended, though, by two seriously great songs.
  56. Though it was directed by Burr Steers, Charlie St. Cloud feels more like a misguided collaboration among Nicholas Sparks, M. Night Shyamalan and Billy Graham.
  57. Unfortunately, Färberböck never gives us reason enough to sit through such unremitting punishment. Though the story is based in truth, an emotionally removed Hoss feels more like a symbol than an actual person, while her detached narration keeps us at further remove.
  58. The trouble starts with the casting. The usually reliable Kevin Spacey never quite gets a handle on Abramoff, an Orthodox Jew devoted to unorthodox business methods.
  59. Melancholy, often muddled documentary.
  60. He tells his story honestly, but with no great sense of self-awareness or insight.
  61. The eyewitness testimony of dozens of punk-era survivors and hotel denizens has a disorienting effect, and everyone gets sidetracked, though the colorful anecdotes are priceless.
  62. With his (Cage) over-the-top delivery and operatically intense facial expressions, there's no way anyone could accuse him of phoning this one in.
  63. None of the seven shorts here is worth a single, well-made feature. But there are a few amusing moments to be found.
  64. Stories about mythic figures at the end of their days are compelling — but they still need some zing. That’s what Mr. Holmes is missing.
  65. Despite the human drama here, we’re kept at a remove by stolid direction and by-the-numbers storytelling.
  66. If any life story should make for a compelling biography, it's certainly Hugh Hefner's. Unfortunately, this love letter is so lacking in any edge, the end result is not just unsexy but unforgivably staid.
  67. The same boring routine gets played out again.
  68. An appealing Deschanel does her best, but the pair is mismatched in every way, from age to attitude. The entire movie is hung on Carrey's shtick, so if you're a fan, you'll have a decent time.
  69. But oy, such terrible jokes and choppy direction. Would it have killed her to share the credits with someone else?
  70. A few really weird things happen during Paranormal Activity 3, though unfortunately, they have nothing to do with being frightened.
  71. While the whole cast -- including Dwayne (The Rock) Johnson -- is game, too much time was spent coordinating chase scenes and explosions, and too little fixing a slack script that relies on bathroom humor and snickering sex jokes.
  72. Denying us any catharsis, Haneke becomes a stern, finger-wagging lecturer; he seems to mean his movie as punishment, conveniently forgetting his own role in the crime. [11 March 1998, p.38]
    • New York Daily News
  73. The results are awkward and atonal.
  74. The sole treasure of Cowboys & Aliens is that director Jon Favreau ("Iron Man") has fashioned an actual rawhide ride from a graphic novel (that took six writers to wrangle to the screen).
  75. For all its strengths, the film is cursed by an ADD-style structure and a flashy but inevitably ineffective casting stunt.
  76. Wang tracks his guys like the documentarian he is, and if the movie feels a bit canned thanks to Adam Forgash's unoriginal script, classic NYC spots and a big heart make it feel like home.
  77. His (Surnow) unfocused script swerves all over the road, but Christopher Meloni and Dean Norris repeatedly get things back on track.
  78. Azaria channels his inner Charles Nelson Reilly, which helps, as does an evil emoting cat. Kids under 7 will likely giggle at some too-harsh pratfalls, not care about a grown man's fear of procreation, not get all the tiny innuendos and possibly miss how the movie is a fairly successful tourism ad for New York.
  79. Ultimately it’s the cast, more than the crime, that gives this story life.
  80. It feels like a high-end perfume ad.
  81. A romantic triangle featuring Rebecca Hall, Alan Rickman and “Game of Thrones” costar Richard Madden has no business being this dull.
  82. Early on, it seems that The Witch is tapping a higher metaphor for coming of age...or religious intolerance...or man's uneasy balance with nature...or something. It doesn't take long into the film's hour and a half running time, however, to break that spell.
  83. There’s never a moment when we forget that Mike and Wallace are just vacant personalities that two talented actors decided to try on for fun.
  84. High art swings sort of low in this watchable but thematically repetitive drama.
  85. The ensuing road trip should be hilariously chaotic, a classic misadventure between two ill-matched travelers. Instead of “Midnight Run,” though, we get another gloss on the recent “Guilt Trip,” in which the concept is all that counts.
    • 74 Metascore
    • 40 Critic Score
    Still, with a story this weak, arguing that the illustrations look cool feels like a cheat.
  86. Berger’s got some clever ideas, but he does not push far in exploring them. And aside from Cross, there is virtually no one to like among these self-involved suburbanites. After an hour alone with them, we can’t help wishing The End would just arrive.
  87. Aiming for lightness but landing with a thud, Frances Ha is a well-meaning blunder. Director Noah Baumbach’s ode to Brooklyn twentysomething life is a flibbertigibbet fable that, like a self-absorbed flirt you meet at a party, grates on the nerves despite being easy on the eyes.
  88. Kids who get a kick out of the macabre will enjoy this exquisitely crafted but tedious film.
  89. Director Travis Fine gives his period details flourish and lets Cumming and Dillahunt create well-rounded characters, but Any Day Now winds up treacly.
  90. While a good director can spin a worthy movie from any subject, first-timer Carlos Brooks does surprisingly little with the jaw-dropper of a topic he chose.
  91. Even if he's slumming, Renner gets it best: his dry delivery fully acknowledges the movie's ridiculousness. If you're planning on entering this fractured fairy tale, you'll want to follow his lead.
  92. The most startling truth is about Emanuel is that she's a rather ordinary teen in a rather ordinary movie.

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