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 I Wish
Lowest review score: 0 I Will Follow You Into the Dark
Score distribution:
6,024 movie reviews
  1. 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.
  2. Unfortunately, what you'll remember most about the movie is its banal script and dialogue so ripe it almost laughs at itself.
  3. Crudup gives it his best, but his character is so economically drawn, there's hardly anything there -- certainly nothing likable.
    • New York Daily News
  4. You may want to wait and watch "Never Land" the way it was meant to be seen -- as a straight-to-video baby-sitter.
    • New York Daily News
  5. Save your breath, and your money.
  6. As the story of a romantic office lump, Janice Beard resembles last year's "Bridget Jones's Diary." But it is a far, far lesser thing.
  7. This lackluster outing is mostly just a retread of past glories.
  8. A fascinating contrast in lifestyles.
  9. Falls short of the mark, content to shoot fish in a barrel.
  10. The characters are boring, the violence generic, the suspense nonexistent.
  11. The production is as gaily colored as the margaritas, but the overall result is wan.
    • New York Daily News
  12. The unhappy dead populate Geoffrey Sax's third-rate thriller White Noise like a pre-Christmas crowd at a suburban mall. This is a shame, since they are neither scary nor sad, and less likely to haunt an audience than simply bore them to death.
  13. The second half of Antoine de Caunes' Monsieur N., about the post-exile life and death of Napoleon, plays less like a movie than a suggestion for one. This is a great disappointment because the first half is very cinematic and very compelling.
  14. Oddly enough, though, only the finale is predictable in a movie that appears to have been edited in an early-model blender. Not a single scene connects smoothly with the next.
  15. What the filmmakers missed in assuming the mask from the earlier film is that it was Carrey's astonishing physical comedy that made that film a hit, not the animation.
  16. South Korean director Kim Ki-duk does a bizarre riff on the twisted macho ethos of abusing women until they learn to love you.
  17. It's strictly amateur hour.
  18. It's interesting in the same way the early, rejection episodes of "American Idol" are oddly compelling. But, of course, you can watch those for free.
  19. An absolute mess with no coherent tone, story or point of view.
  20. [A] straight-to-video-quality mess.
  21. Beyond the cliches, there's something deeply offensive about the way Hostage exploits our empathy for children in peril.
  22. Cusack is excellent as Joan, the only woman in the film who values a girl's brains over her body, so it's a shame Fywell treats her with amused scorn.
  23. With little plot and a stifling set, the ­movie needs stronger performances than its leads can offer.
  24. Hartley's satire of consumer-driven sexuality is undermined by the straight-faced decision to cast affectless model Tatiana Abracos as the heroine.
  25. 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.
  26. Director and co-writer Steve Suissa misses every opportunity to go deeper, either for laughs or pathos.
  27. Director-writer Richard Ledes shows better command of 1950s period atmosphere than he does of either his subject or his cast.
  28. Even a soccer-savvy audience has better things to do - like instilling unsportsmanlike behavior in their kids or sabotaging rival teams.
  29. Fonda's performance is a perfect storm of histrionics, and she leaves nothing and no one standing.
  30. This tale of disaffected sexual depravity is practically a parody of the worst of French filmmaking.

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