New York Daily News' Scores

For 6,583 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 Lord of the Rings: The Two Towers
Lowest review score: 0 Postal
Score distribution:
6583 movie reviews
  1. A bad Altman impression of the L.A. rock scene.
  2. If there's a lesson to be found in this shameless vanity project, it's that money can buy anything. Even a movie.
  3. The confusing time line of Pascal Arnold and Jean-Marc Barr's bizarre tale of sibling romance, murder and obsession is just one of its problems. The others are the romance, the murder and the obsession.
  4. There's a reason filmmaking is considered a craft, and Hoge, a former teacher in a juvenile prison, cannot pull off what would be a tricky proposition for a skilled veteran.
  5. A waterlogged bagel, hardly the valentine to New York it imagines itself to be.
  6. Gere, who's credited with keeping the project alive for years, has never thrown himself quite so fully into a role, and Pellington tells the story without a hint of skepticism. I suppose he had no choice. If you're going to treat poppycock as history, you had better believe it.
  7. With the exception of one masterfully choreographed - and improbably bloodless - martial-arts gang fight, the new version of Jules Verne's Around the World in 80 Days is one of the lamest remakes of a classic film I've ever seen.
  8. Why would so many accomplished women waste their time and talents on a movie as counterfeit as Mad Money?
  9. Stays firmly, depressingly, inside the lines.
  10. Del Toro ("Cronos") is a stylish horrormeister, and he has created an evocative, foreboding atmosphere. But only a fan of this kind of mayhem could find a way into the story.
    • New York Daily News
  11. We never get a sensible explanation for Linda's bizarre double life, or uncover any reason - any reason at all - why Bullock would pick this lazy, patchwork script out of all the ones she surely receives every year.
  12. It's a romantic comedy, though neither funny nor romantic. It's a ghost story, though not scary. It's a satire about publishing, but without teeth.
  13. The upbeat brothers are full of sweetness and love, but the script is made of taffy, and if you can chew and laugh at the same time, you're welcome to it.
  14. Ken Liotti's script barely earns a C+.
  15. It would be nice to say this predictable fantasy has such a big heart, we can forgive its excesses. But director Kirsten Sheridan overplays nearly every already-corny scene, and there is no chemistry between Russell and Rhys Meyers, who appear to be passing through on their way to better projects.
  16. A fascinating contrast in lifestyles.
  17. The story has a definite ick factor that detracts from even the small pleasures the movie might offer its teen audience.
  18. Ron Shelton's boxing pic is long on road work but strictly a flyweight.
  19. This preposterous adaptation of the Book of Esther is recommended viewing only for those impressed that it comes endorsed by the American Bible Society.
  20. Lighter on horror than it is on inadvertent humor.
  21. A flashy homage to a dozen better movies, this self-conscious Hong Kong action flick is so packed with visual thrills, you may not notice that there's absolutely nothing beneath its impressively slick surface.
  22. The movie veers so wildly between being zany and grim, we're left feeling more empty than entertained.
  23. A great idea that never gets off the ground.
  24. The sort of slick-looking indie that plays well at film festivals, this heavy-handed boxing drama is really just a flyweight bulked up on cliches and false sentimentality.
  25. The writing, directing and acting are all so sketchy, it's a mystery that Kattan didn't just try out this material the way he should have -- in a three-minute sketch.
  26. Competent in the extreme, the talented Jolie would make a great Jane Bond. But mired in this joyless orgy of preposterousness, her biggest challenge is simply keeping a straight face.
  27. The movie creaks and groans, weighed down by clichés.
    • New York Daily News
  28. Of this much I'm sure: It's an awful movie.
  29. Takes the worst and most annoying elements of the first film and treats them like grand assets.
  30. Sets out to be a social critique but settles for smug disdain.
  31. Dreamcatcher has no business being this bad.
  32. By the end of Francois Gerard's plodding, uninvolving melodrama, his boredom will have nothing on yours.
  33. We're bombarded by witless racial clichés, stale sexism and homophobia and enthusiastic celebrations of extreme flatulence.
  34. A tormented dramatization of the exact same events, and it's as bad as the earlier film ("Dogtown and Z-Boys") was good.
  35. Neither chimps nor children should be subjected to such shabby mediocrity.
  36. The characters are boring, the violence generic, the suspense nonexistent.
  37. On paper, the "rising stars" of Meiert Avis' low-flying romantic comedy Undiscovered are Steven Strait and Pell James, but the real star is Tyson the Skateboarding Dog.
  38. Crowe was going for something magical in all this, but the film is so affected and mannered, so preciously in love with itself, that it's painful to watch. Scenes go on and on, and when you think the movie's over, it goes on and on some more.
  39. There's a fascinating and terrifying story to be told about Elizabeth Bathory, the dramatically depraved 17th century sadist known as the Blood Countess.....This ain't it.
  40. Both a madcap comedy and a cautionary tale about the dangers of drug abuse. But it's not funny or smart enough to work as either one, let alone to strike a balance.
  41. A Christmas headache looking for an audience.
  42. Kline will break your heart, while the rest of the movie will just make you sick.
  43. Shows that there's a limit to how much mileage one can get from offbeat, creepy and symbiotic.
  44. Trudy is really the only character with the "Barrytown" zest, and Montgomery throws herself into the role with unselfconscious abandon. She makes the screen crackle with energy.
  45. Normally, I'd recommend a movie like this only to diehard fans. But even they may want to wait until it hits cable.
  46. Turns out to be as heavy and earthbound as an injured dragon.
  47. A ticket to this movie is a season's pass on that train - and you must complete every ride.
  48. This tale of disaffected sexual depravity is practically a parody of the worst of French filmmaking.
  49. A weak documentary. There's very little here to demonstrate the personality and leadership qualities that made Massoud both a legend and a martyr. Raw, sloppily edited, unfocused and without any sense of scale, it's personal journalism with its heart in the right place, and that's about it.
  50. There are some nicely gory touches for genre connoisseurs...But JC2 lacks the all-important character development we got in the first installment.
  51. Unremittingly bleak and hopelessly outdated parable of American race relations.
  52. Convoluted and unsatisfying psychological drama.
  53. The result feels as if she (Trish Doolan) gathered all her friends, turned on her camera and let them loose. Which is perfectly fine, if you don't expect anyone to pay to watch the finished product.
  54. Ever been on a blind date that you knew would be dismal from the start? Well, this is the movie version of that date, stretched out over the slowest two hours imaginable.
  55. There's a lot of scary stuff in Wes Craven Presents: Dracula 2000. There are eyeball-sucking leeches, decapitations, punctured necks... and appalling acting.
  56. Unfortunately, it isn't until the final scene -- a spoof of the horror genre's false-ending cliché -- that Bats really takes wing.
  57. A superficial tween comedy that mocks celebutantes like the Olsen twins while simultaneously pushing stars Hilary and Haylie Duff as their replacements.
  58. Perhaps this is just a bad performance by Bana; he's not shown me anything yet. But there's a more basic problem. If money is just a way of keeping score, and Huck doesn't care whether he's flush or busted, why should we?
  59. Dark, grim, and cliched Orwellian satire.
    • New York Daily News
  60. The question is, if Sarabeth is so desperate to escape this oppressive distillation of Jewish neuroses, why would filmmaker Debra Kirschner think we'd want to stick around?
  61. The plot is as riddled with holes as Matilda's victims, making her sudden appearances more distracting than distressing.
  62. An exhausting combination of generic thriller, political tract and sentimental weepie.
  63. Save your breath, and your money.
  64. The picture's a dud... Instead of Chow's gravitas rubbing off on the kid, Scott's dude-ness dilutes Chow's authority.
  65. Just another trip down a very dusty road.
  66. Stole so many details from the earlier film, "The Hustler," that you have to think of it as either a bad parody or an unfortunate homage.
  67. We wish other directors would keep Edward Burns busy acting so he wouldn't have time to make his own movies. This is his fourth since "The Brothers McMullen" and they get more tedious each time out.
  68. It's an old maxim that you can't make a good movie from a bad script. But with the suspense thriller Twisted, Philip Kaufman shows that you can make one that looks like it should be good.
  69. The humor is supposed to stem from the clash of kids who have been raised so differently and of partners with opposing views of child care. But there are just so many jokes you can make about who gets to use the bathroom when.
  70. The low-tech film looks like a kid's crude drawing, plays like entry-level Game Boy, and is about as nourishing as a Tootsie Pop.
  71. If you think you're tough enough, go ahead and sit through the endurance test that is Bad Boys 2, a brutal, 2 1/2-hour display of production overkill.
  72. The real trouble is at its core, with an over-the-top performance from Sedgwick that borders on Baby Jane campiness.
  73. A screamingly bad melodrama whose message seems to be that people who think they're talking to a deaf person admit things they wouldn't admit to themselves. Silence, please.
  74. Where the first film was a seminal forerunner of early stalker classics like "Halloween," this version feels as stale as old gingerbread.
  75. Striking naturalism and blatant dishonesty blend awkwardly in this bleak drama.
  76. There is just no tension built prior to the murders.
  77. Paul Auster's suffocating romance makes you feel as if you're helplessly stuck inside the head of the most pretentious person you know.
  78. The movie - with some gamy sexual references, a one-night stand and a long look at a stud muffin's naked buns - targets an older female audience. They may see it as unbearably cute, filled with ridiculous coincidences and laced with performances that - like the obnoxious soundtrack music - overstate the mood.
  79. Those who need little more than a car chase, gunplay, pretty girls and a solid soundtrack will be entertained. And Ice Cube fans won't be disappointed. Everyone else may want to think twice before shelling out hard-earned dollars.
    • New York Daily News
  80. This is clearly the Worst Performance by an Actress in a Death Scene since Sofia Coppola took a bullet for her dad in "The Godfather: Part III."
  81. Offers traditional cinematic gab about marital status, sexual orientation, nationality and degree of fulfillment.
  82. Their (Murphy/Wilson) exchanges and interplay are so campy and over the top that I kept expecting them to pull out frying pans and start bopping each other over the head with them. I Spy is one just Stooge short of homage.
  83. Though its PG-13 rating allows for much cruder sex humor, the movie version of "Dukes" is nearly identical to the TV series in its corniness, in its incessant car chases and in its ogling of the posterior of cousin Daisy Duke.
  84. The screenplay has no idea how to modulate the banter between the movie's talented stars so that it approximates affectionate and playful sparring.
  85. Gets too caught up in its escalating violence and strained-to-bursting moral subtexts. It's the blood of souls drenching the screen, and it's a hideous sight to behold.
    • New York Daily News
  86. To be fair, Sandler deserves some credit for bringing us the first mainstream movie about Chanukah. Too bad it's completely idioticah.
  87. The award for hardest-to-watch movie of the year.
  88. Falls short of the mark, content to shoot fish in a barrel.
  89. A jumbled composite of blurred images, poetic yearnings and metaphoric dialogue.
  90. A perfect example of an "art" movie that is so lugubrious and soul-sucking that it's hell to sit through.
  91. Ill-timed "Hands" has a very limited grasp of comedy.
    • New York Daily News
  92. Desperate for a slice of Spanish soap opera? You might try this misguided romantic melodrama.
  93. This is the kind of misfire that can take everyone down with it. It's not just bad, it's mean-bad.
  94. There's no story to speak of - three cohabiting bachelors are dragged into adulthood by the simultaneous pregnancies of their girlfriends - but Anderson, Imperioli and Eddie Griffin are amiable company and there's an earned laugh here and there.
  95. It's hard to say which is worse: The fact that 20th Century Fox believes this sour, sexist fantasy reflects anyone's actual experience or that Hollywood is so woefully behind the cultural curve.
  96. A personal documentary on a family member. The question is, who -- outside of friends and family -- would want to watch it? The ... beyond me.
  97. Clumsily merges fiction and reality, biography and musical fantasy, and breaks the fourth wall in a way that allows Spacey to lamely address his own miscasting.
  98. Commits the cardinal sin of moviemaking: It leaves you bored.
  99. A slice of life that adds up to exactly the sum of its parts, no more, no less.
  100. Though there are giggles here and there, the film is inexcusably unfunny.

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