New York Daily News' Scores

For 6,630 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 Metropolis (re-release)
Lowest review score: 0 Joe Dirt
Score distribution:
6630 movie reviews
    • 62 Metascore
    • 40 Critic Score
    Plays like a folksy version of “The Descendants,” and the unusually grizzled Dunne excels. Sadly, the movie is marred by tepid, often crass comedy.
  1. Though much of the film is overcooked and overwrought, it’s well-played, and writer-director Kieran Darcy-Smith keeps us guessing, and watching.
  2. Philippe Le Guay's carefully-tailored crowd-pleaser does have its pleasures, even if originality is not among them.
  3. Friedlander offers a nicely subtle performance, but the other actors - including Alan Cumming, Deborah Harry and Amy Sedaris - appear to have turned up as a favor to the director. Don't feel obliged to follow their lead.
  4. The cutesy energy is just too much in this Aussie comedy that’s overly bemused by its quirkiness.
  5. Giamatti and Rudd banter with appeal, but Melissa James Gibson’s lackluster script doesn’t offer either much to work with.
  6. There’s so much more to this story — as any number of articles about the people he wronged attest — but this time, Gibney never really gets in gear.
  7. Kidman is able to draw you in even as the movie's solemn, morbid obviousness wears you out.
  8. If you love Viagra jokes, look no further. Otherwise, stay home and find yourself a "Golden Girls" marathon.
  9. This crowded 72-minute doc “focuses” on at least 13 different dancers in a well-meaning but misguided and ultimately frustrating love letter to tap.
  10. Orphan doesn't add much to the genre except, disturbingly, a fetishistic bent that's creepy in the wrong way.
  11. For all the trickiness and bluster, Shutter Island is dead inside.
  12. Director Scott Teems' film is as quiet as untilled soil -- not always a good thing -- but Holbrook has a handle on where to dig.
  13. The actors hold our attention, and there’s something to be said for the guys’ pathological disconnect. But the movie itself is too disconnected to say it.
  14. The forced coming-of-age parable that filmmaker Joe Wright laces with fairy-tale symbolism is heavy-handed from the get-go.
  15. As slickly entertaining as you’d expect a Disney-produced inspirational sports movie to be. But it’s so lacking in sincerity and creativity that “inspirational” never rounds the corner to “inspiring.”
  16. The nearly unrecognizable Chiklis almost single-handedly saves the day.
  17. Director Steve James ("Hoop Dreams") has a worthy message, but never makes the case that he needs an entire documentary to deliver it.
  18. The big twist to Closed Circuit is stated in the film’s TV ads, so even the element of surprise is lost. There may have been the making of a juicy, episodes-long BBC series here, but as it is, there’s barely any juice at all.
  19. Backtrack eventually moves beyond its shamelessly borrowed set-up to create a few chills of its own.
  20. Scenes of the director as a school-age boy in a Varda film are haunting, but end up simply sparking a desire to see Varda's work.
    • 34 Metascore
    • 40 Critic Score
    Unlike that earlier live action/animation hybrid, however, which had a cheery, almost campy New York fashion-industry setting, The Smurfs 2 is mostly loud and unfunny.
  21. As her boss and boyfriend, an impressively good-natured James Van Der Beek adds a professional sheen to what otherwise feels like a vanity affair.
  22. Safe House devolves into unexciting action scenes that feel left over from the "Bourne" flicks and are peopled with cloak-and-dagger stereotypes.
  23. It's laughably, eye-rollingly absurd.
  24. While Cera is charming enough to keep us watching, he's never allowed to cut loose -- even though that's supposed to be the whole point of the movie.
  25. Nathan’s neurotic self-indulgence strains our patience.
  26. Hawke works hard to solidify Pawlikowski's wispy ideas (which are adapted from Douglas Kennedy's novel).
  27. As the world's most chipper recovering coma patient, McAdams is a beautiful blank. There's not a single moment when her character feels real, or as if she genuinely has anything at stake. So it's a good thing Tatum steps up to add a little depth to this unabashedly lightweight venture.
  28. Simplistic plotting, pedestrian visuals and poorly-handled melodrama do lend the project a cheap, made-for-TV feel, which is underscored by the fact that Danes and Marsden don’t seem obliged to turn in their best work.

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