New York Daily News' Scores

  • Movies
  • TV
For 6,024 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 5.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Saving Private Ryan
Lowest review score: 0 The Last House on the Left
Score distribution:
6,024 movie reviews
  1. An urgent, stirring story made all the more inspiring by the very ordinary nature of its subjects.
  2. As befits a production of impeccable French pedigree, the acting, set design and lush cinematography are all outstanding. But the story is told so slowly.
    • New York Daily News
  3. A fascinating story.
    • New York Daily News
  4. Clever as it is, Blood Simple is derivative and self-consciously stylized.
  5. Outside of the leads, the acting is uneven, but The Tao of Steve has an unquenchable playful spirit.
  6. The movie falls apart toward the end as it enters "Eyes Wide Shut" territory, but until then, it's fun to see bookworms cast in the James Bond mode.
  7. A raunchy, irreverent, generally hilarious sendup of ritual and papal decree.
  8. Unlike most indie directors dealing with this sort of material, Maggio refuses to wallow in the romance of either misery or redemption. Instead, he hangs everything on the honesty of his lead, unknown actor Jordan -- who is so good that if there's any justice, he won't remain unknown for long.
    • New York Daily News
  9. Has that same air of silly innocence, a rarity in today's movies.
  10. A genially mellow, consistently entertaining spoof.
  11. In addition to the strong script, the ensemble performances are topnotch, with no one hogging the limelight.
  12. O'Connor plays Fanny with an appealingly direct, unflinching gaze.
  13. Delicious, intelligent thriller.
  14. A mostly accomplished first film, with precise comic timing and some hilarious moments.
  15. Only the most hardhearted would fail to be swayed by Messner's surprising strength, and -- dare I say it -- irresistible charm.
  16. A charming little valentine to the mysteries of attraction.
  17. Most of the movie's rewards are in watching Morton.
  18. Seems like a genteel "Psycho."
  19. An actress' dream.
  20. Blunt, alternately prurient, funny and depressing.
  21. Has the schematic feel of a disease-of-the-week TV movie, but the connections made between jazz and the minds that produce it turns the film into something much more intimate and compelling.
  22. A slice of life in the most profound sense.
  23. If you're looking for either insight or even just an introduction into the mind of a great artist, "One Day" is worth the effort.
  24. This alien high school sci-fi tale has clever wit, clever FX.
    • New York Daily News
  25. A gentle, soulful comedy about everyday dreams and what it takes to make them come true.
  26. Crushingly realistic.
  27. A remarkable second feature from writer-director Yesim Ustaoglu.
  28. One of the reasons the move is so funny is that it is only a few degrees away from real life.
  29. What keeps these mother-daughter tumbleweeds from drifting right out of consciousness is the unique rapport between the actresses.
  30. A standout feature of the movie is its representation of female friendship.
  31. If you're seeking transcendent love this season, skip the morose "End of the Affair" and go with Anna and the King.
  32. Although Voyages is mapped with anguish and fear, director Emmanuel Finkiel's characters are survivors, and he never lets us forget it.
  33. Gentle, funny and full of the lessons one expects from the scions of the late Jim Henson.
  34. As a film, The Score may not add up to much, but take it apart and it's something to see.
  35. It's a romantic weepie.
  36. A small gem in the postholiday depression.
  37. The things you can look forward to, however, are the humor, intellectual musing, emotional tumult, superb acting and challenging adult questions.
  38. It's the first mainstream gay movie that feels totally comfortable in its shoes.
  39. A merry romantic comedy in the screwball tradition.
  40. The greatest strength of this modest production is Jones. ZigZag's autism is mild, meaning his symptoms are subtle, and the 19-year-old novice is completely convincing.
  41. That there was no squirming among the kids at my screening may be the best recommendation of all.
  42. Sensitive and thoughtful coming-of-age story.
    • New York Daily News
  43. Could well end up on the coming Oscar ballot for best foreign language film.
  44. A fascinating fly-on-the-wall documentary.
  45. Viard plays one of the most intriguing female characters in recent film from either side of the Atlantic.
  46. Explores the comparatively enlightened Berlin culture that had allowed homosexuality to flourish in intellectual and social circles before the Nazis forcibly changed the national mind-set.
  47. Enjoyable, intelligent little heist movie.
  48. The Specialist allows Eichmann to convict himself, not of complicity in the Holocaust -- to that he pleads guilty, by reason of nationalism -- but as a man unfazed by his own inhumanity.
  49. She (Walters) may be working with old news, but she shores up this shaky film with a heart the size of an ocean liner.
  50. Both politically intricate and genuinely hilarious, Faat-Kine is a story grounded in dichotomies.
  51. Unpolished and clearly made on a low budget, the results seem a little like a home video by someone who spent an especially cool summer vacation.
  52. A long sit for those unfamiliar with Proust's literary quest and output, but the view is sensational.
  53. No other mainstream movie has so openly tackled the subject of female sexual experience.
  54. Savvy, unflinching, often bloody documentary.
  55. Some of the simplest shots give you the full picture of the price these guys paid for their dreams.
  56. More than the sum of its parts.
  57. The most extraordinary thing about Me You Them is that no one behaves as though anything remotely out of the ordinary is going on.
  58. The result is an undeniable and effective authenticity.
  59. Although rife with comic possibilities, The Personals develops into a somber tale of personal identity.
  60. A personal eulogy, from one artist to another, and an indictment of all systems of government that deny people the right to free expression and the full realization of their talent.
  61. Charming, funny and poignant. But it's also a reminder that if we want an intelligent teen romance, we have to import it.
  62. Hits so hard because it feels so real.
    • New York Daily News
  63. The story is fascinating for its simplicity and its inherent truths about the downside of progress.
  64. The performances are first-rate, with the always inventive Macy a standout as the hopeful, tormented Chappy, and Zahn a scream as the lovably imbecilic Wayne.
  65. Hand-held cameras give their surface showbiz relationship a sense of immediacy that, like love itself, has more than a hint of danger.
  66. This Asian-flavored Hitchcock is a complicated tale with no easy answers.
  67. A taut and thought-provoking thriller .
  68. All of Haas' movies have an air of weirdness and dread, and this one is no exception. But it's romantic as well.
  69. Good music stands alone, and the documentary is jaunty fun.
  70. Slick entertainment.
  71. A fascinating exploration of the mysteries of the artist's life.
  72. For sheer escapist fun, the proudly ridiculous Bandits fills the bill.
  73. Krabbe attempts to stuff too many themes and subplots into the story.
  74. No actress of her generation inhabits characters as thoroughly and convincingly as she (Streep) does, and this performance carries the movie
  75. Yet another deceptively simple, supremely moving film from Iran.
    • New York Daily News
  76. Her story (Ganatra) -- and the rest of the gifted, multicultural cast that brings it to life -- represents another step in the evolving face of film.
  77. You'd think it would be boring to stare at Thomas's computer screen so intently for 97 minutes, but the movie is eerily riveting.
    • New York Daily News
  78. Makes a fine date movie...thanks to its life-affirming view of friendship, love and honor.
  79. Breillat has made an important, even essential work about the exploitation of young women's sexuality, but is not she complicit as well?
  80. The actors seem exhilarated.
  81. It stands apart when it comes to its extravagant humor and non-judgmental '70s-era reality (smoking dope, hitching rides, playing Frisbee, hanging out).
  82. Seen through Demy's eyes (and Raoul Coutard's shimmering black-and-white photography), their extravagance is so effortlessly cool, you feel somehow lucky just to be there with them.
  83. For those who've become increasingly conscious of the connections between strangers sharing a city, it's a challenge that's hard to resist.
  84. It provides the first genuine laughs I've had at the movies in this young year.
  85. Equally compelling and depressing.
  86. Beautiful, witty and provocative, this is one genre film that ought to appeal to fans and non-fans alike.
  87. It is an excruciating experience. But then, it would have to be. We're watching the distilled essence of war.
  88. Along with "The Others," -- represents a welcome diversion from loud, senseless Hollywood extravaganzas.
  89. The plot is formula all the way, but Lawrence has found a way to incorporate the physical techniques of the great silent stars with his standup comic's arsenal, and it's a pleasure to watch him at work.
  90. A stately and deeply affecting look at the human condition, told in something like a series of snapshots.
    • New York Daily News
  91. Petersen's speculative reenactment makes for gripping summer entertainment -- if you don't mind a little corn floating in your brine.
  92. Offering often-hysterical testimony to Vilanch's talent.
  93. Works on several playful levels. Most obviously, it is a horror movie in which life imitates art on a movie set.
  94. This is melodrama with broad theatrical flourishes, but Dietrich's sensuality is still a natural wonder, and with a new print, the Film Forum run offers a rare opportunity to see it big-screen-size.
  95. Looks a lot like 1950s American gangster films -- particularly, John Huston's "The Asphalt Jungle" -- but it's decidedly French in its sexual candor and moral laissez-faire.
  96. Ought to suit fans just fine.
  97. The best performance is by Rampling. (The) camera hangs on her, knowing that nothing escapes those wise, sad-lidded eyes.
  98. A slog to get through, but Jeanie Drynan's nuanced performance as the enduring matriarch makes it all worthwhile.
  99. The movie isn't a day in the park, but it manages to close on an existentially uplifting note.
  100. A fascinating, damning picture of bourgeois boredom that manages to be both epic and intimate at the same time.

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