New York Daily News' Scores

For 6,789 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 6.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 The Secret Life of Walter Mitty
Lowest review score: 0 The Legend of Hercules
Score distribution:
6789 movie reviews
  1. Dumber than the worst UPN sitcom.
  2. Amanda Micheli's candid documentary introduces us to two of these real-life daredevils, and it is a genuine pleasure.
  3. Is a movie worthwhile if it makes you sick? Absolutely, in the case of Enron: The Smartest Guys in the Room.
  4. There isn't a scene, an action or a character that rings true, yet the narrative summary of the events that inspired it is a matter of record.
  5. Manages to tackle some serious issues without sacrificing its inherently sweet nature.
  6. Mildly pleasant movie.
  7. Will thrill those who prefer their violence graphic and their comedy surreal.
  8. Why remake a horror film if you can't make it scarier?
  9. Sappy and improbable.
  10. The faux-documentary format does nothing for the material, but Kaye turns in a chaotic and ultimately moving performance.
  11. Zingaretti does a fine job shading a character that is written as an unalloyed saint.
  12. The result is a highly amusing folly, rendered with a surprisingly gentle affection.
  13. Hartley's satire of consumer-driven sexuality is undermined by the straight-faced decision to cast affectless model Tatiana Abracos as the heroine.
  14. This is extremely dark and politically loaded material.
  15. Given that its predecessor hit bottom in the glorification of thug thrills, State Property 2 had nowhere to go but up. Yet, it doesn't.
  16. Eisner is not remotely up to the challenge. Spending millions on action scenes does not mean you get them right.
  17. Relationship comedy like this is mother's milk to Drew Barrymore, who, as usual, is adorable and perfect.
  18. The overly broad martial-arts comedy Kung Fu Hustle was obviously made with skill and affection for its many cinematic sources, yet I found the tone, timing and emotional involvement off by just enough to irritate rather than enchant.
  19. The story doesn't make any real sense, and the production values are home movie-cheap. But the cast seems to be having fun.
  20. When the producers of Eros, a triptych of short stories about eroticism and desire, described what they wanted from Hong Kong director Wong Kar Wai, American Steven Soderbergh and Italian master Michelangelo Antonioni, they must have written the memo in Chinese. Only Wong attempted something sensual.
  21. Very little actually happens in the movie. There are no cathartic breakdowns or soul-changing epiphanies. Instead, we're offered a collection of small moments that feel so familiar, they remind us how false most films really are.
  22. Gives moviegoers a funny, observant, evanescent approach to the mysteries of human desire.
  23. Actors do an excellent job portraying young people struggling with an almost manic paranoia.
  24. The movie still isn't great, but it's an important remonstration to that oldest of all studio-system curses: the producer who thinks he's more creative than the director.
  25. The movie exaggerates a common dynamic between men and women.
  26. Sin City snaps, crackles and pops like no graphic novel ever brought to the screen. Mixing live-action with computer-generated images, it looks like the novels, talks and bleeds like the novels, is as muscular and voluptuous as the novels - and it leaves you breathless as only a movie can.
  27. But where there is a natural poetry of motion in surfing movies, off-road racing is a herky-jerky pastime whose ­appeal is hard to fathom. I guess you had to be there.
  28. With little plot and a stifling set, the ­movie needs stronger performances than its leads can offer.
  29. Smart, imaginative - and nearly ­impossible to watch.
  30. This audience-pleaser is smart and acerbic. Jaoui has an uncanny ear - as director, co-writer and part of the inspired ensemble cast - for human foibles, self-deception, celebrity worship and female body issues.

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