New York Daily News' Scores

  • Movies
  • TV
For 5,904 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 5.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Central Station
Lowest review score: 0 Pompeii
Score distribution:
5,904 movie reviews
  1. Yes, the film’s CG dinos look great tromping in the Alaskan wilderness, but children deserve better than such unchallenging fare.
  2. A director who really wanted to honor these actors’ legendary roles, rather than simply use them as a marketing hook, might have found a way to make this concept palatable. Segal (“Get Smart”) is not that director.
  3. The concept is the same, and just as tired as it was when the second, third and fourth sequels to “Paranormal Activity’s” 2009 first installment.
  4. This Canadian Hamlet, completed years ago, is as airless as a tomb.
  5. Cranston, in a fake beard and dark glasses, seems to be enjoying his goofy act. Trouble is, this isn’t the kind of movie in which goofy earns goodwill.
    • 41 Metascore
    • 20 Critic Score
    This ugly, dull and idiotic actioner doesn’t know if it wants be fun or grim. It winds up simply being deplorable exploitation.
  6. From an artistic perspective, Ron Krauss’ heavy-handed drama, Gimme Shelter, fails almost entirely. But if the director set out to combine the stilted falsity of 1980s after-school specials with leaden political dogma, he’s certainly achieved his goals.
  7. Far from burning bright, this earnest indie starts out dull and gets duller.
  8. The real challenge is for viewers, who must tolerate overacting, idiotic scatological jokes and juvenile innuendo. The only way it might be endurable is if you’re wasted, too.
  9. Painfully dull thriller.
    • 58 Metascore
    • 20 Critic Score
    “Keep Austin weird” is the mantra of the capital of Texas. In no way does that mean “Keep Austin gross.” The unfunny Love and Air Sex unfortunately takes the latter slogan as its mission.
  10. The remake of the 1987 cult actioner Robocop is a misguided failure — not only because its retooled half-man/half-machine hero now has emotions, but also because its “fear the machines” message winds up feeling creaky.
  11. If you’re looking for a Valentine’s Day date, this version is probably a better choice than the uncomfortably swoony original would have been. You might be bored, but at least you won’t be embarrassed.
  12. The whole movie hinges on the allegedly miraculous romance between Beverly and Peter, but Goldsman’s leads are distractingly mismatched and lack even a spark of chemistry.
    • 32 Metascore
    • 20 Critic Score
    What wants to be a screwball comedy is run over by preposterous character motivation and a clunky plot.
  13. It only comes alive when the star briefly shows the casual looseness that once was his calling card.
    • 43 Metascore
    • 20 Critic Score
    Some of the locations and scenes of indigenous musicians make this trip a tiny bit worthwhile. But only a bit.
  14. This ill-advised romance from director Andrew Fleming is the sort of indie lark that nearly drowns in its own whimsy. Wade in at your own risk.
  15. So do the minutes. They stretch on as one tiresomely quirky sadist after another appears. Cusack is typically likable and De Niro is amusing in his brief scenes. But unlike Jack, you’re too smart to make big sacrifices for so little return.
  16. The only saving grace is Green, the reigning witch-queen of cinema. The smoky-eyed French actress, best known for “Casino Royale,” “The Golden Compass” and “Dark Shadows,” throws her all into the performance, going bare-chested at times, bared-teeth at others. She’s like Elizabeth Taylor’s "Cleopatra" possessed by a succubus — which is a good thing. Without her, 300: Rise of an Empire would be bloodless and brainless.
  17. When people complain about movies glutting the market, this moronic “Black Swan”-meets-“Phone Booth” thriller is what they mean.
    • 33 Metascore
    • 20 Critic Score
    There’s lots of mixed film stock and screeches on the soundtrack (as in the credits for “Seven”), but this gets annoying, as do the predictable twists.
  18. This movie is so dumb for most of its running time, you walk away wishing there was less plot and pointless posing and more of the fuel-injected coolness that brought you to the multiplex in the first place.
  19. Fine actors are let down by a comatose script and wayward direction in this retro crime drama.
  20. The problem with this hyper-verbal comedy is in the title.
  21. Jessica Goldberg’s sluggish directorial debut feels like a leftover from the 1990s, when dank indie dramas littered film-festival lineups.
  22. When you name your movie Dom Hemingway and then require the titular antihero to repeatedly declare, “I am Dom Hemingway!” the filmmakers must be very confident that there is something special about their character. Too bad there isn’t.
  23. How anyone could make such an uninvolving movie out of such a fascinating subject remains its own inexplicable mystery.
  24. Haven’t Cleveland fans suffered enough? Not only have they never won a Super Bowl, but now the Browns serve as the center of Ivan Reitman’s painfully creaky sports drama.
  25. The result: a dangerously cracked creep flick.

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