New York Daily News' Scores

  • Movies
  • TV
For 5,876 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 King Kong
Lowest review score: 0 Christmas with the Kranks
Score distribution:
5,876 movie reviews
  1. One of those factors must have settled upon the unlucky shoulders of Stephen Frears, who certainly has the pedigree to go all the way. And yet, he stumbles so badly with Lay the Favorite, his comic adaptation of Beth Raymer's memoir, that one is left wondering what could possibly have gone wrong.
  2. Texas Chainsaw 3D sees itself as over-the-top and knowing, but what we ultimately get is simply eyes without a face.
  3. Okay, y'all, the never-ending appeal of the Southern-fried crime caper for filmmakers hungry for flavor is back with The Baytown Outlaws. Only here, the drawling accents, screeching tires and sawed-off blasts that rise again don't amount to much.
  4. It would appear that for his first feature, Mikael Buch wanted to leave nothing to chance. So he threw in enough action for five movies, amped the comedy up to frenetic levels and encouraged his cast to play to the rafters.
    • 61 Metascore
    • 20 Critic Score
    With many of McAleer's facts coming from casual Internet searches (backed by boring shots of the computer screen), the accuracy of this crowd-sourced documentary - funded by small donations on Kickstarter - seems as reliable as a Wikipedia entry.
  5. Swan is so eager to be a trippy comic lark that it ends up resembling a clown trying to fit through a pea-shooter.
  6. With a bit less grisliness, it could have been a mystery dinner-theater performance.
  7. Who could have predicted that one day we would long for the relative subtlety of “Twilight”? Richard LaGravenese’s Beautiful Creatures is so outrageously florid, Bella and Edward’s baroque courtship looks understated by comparison.
  8. Ultimately, even more than 2007’s “Live Free or Die Hard,” “Good Day” never lets McClane be McClane. Gone is his taunting snark and quick-witted preparedness; instead he seems like a jerk with a thing for guns.
  9. The movie’s gimmick is having the actors visually superimposed over sets created from actual Civil War photographs. But this collage effect, while striving for truthfulness, comes off like a View-Master version of a tale already told.
  10. Muddled and inert despite the best intentions, this inescapably dull thriller plays like a Middle Eastern take on Liam Neeson’s “Taken.”
  11. How ironic (depressing? predictable?) that the week after we celebrate the best in movies, we are force-fed its very worst. 21 & Over is filmmaking by formula, and evidence of Hollywood’s assumption that appealing to viewers’ basest instincts will always pay off.
  12. Virtually plotless, the movie does its best to be offensive, but not in the service of any particular theme. The use of mentally impaired youngsters as actors is cheap and exploitative. You can only wonder about the emperor's new clothes, and how much Hollywood paid for them. [17 Oct. 1997, p.52]
  13. Hardworking Oscar winner Harden and beguiling Spanish star Watling do nothing for this haphazard film, which belatedly decides it wants to be a stage satire as the women lark into a ridiculous avant-garde production of “MacBeth.” Bloody awful.
  14. Points for niche audaciousness, but that’s all.
  15. Hemsworth has presence, but he also represents this film’s biggest problem: It feels like a bunch of good-looking kids putting on a show.
  16. The bad news about Admission is that this thin envelope of a comedy checks all the boxes for being a phoned-in, phony, padded rom-com.
  17. Unfortunately, the rest of writer-director Eran Creevy’s film just shows that the Brits, too, make good-looking but empty thrillers, just like in Hollywood.
  18. Sort of “An American Psycho’s European Vacation,” this indie dramatic thriller mixes sex and violence and still winds up dull.
    • 57 Metascore
    • 20 Critic Score
    The holes in the plot, not in Eddie’s diet, are the real joke.
  19. Luckily, folks like Snoop and good sports like Sheen and, yes, Lohan, break up the monotony. Until, like an undead beastie, the boredom and dumb jokes come roaring back.
  20. The Big Wedding lets them all down with bottom-rung sitcom shtick and an undercurrent of squareness masquerading as absurdity.
  21. "Wolverine" is silly and typical, not in spite of but because it bonds an undeveloped family feud onto the main character's renegade story.
    • 57 Metascore
    • 20 Critic Score
    For all the star’s efforts, the movie itself ends up little more than an exploitation item, a sad place-holder until the real thing comes along.
  22. This would-be satire earns an E for Effort for wanting to be to the advertising world what “Being There” was to television.
  23. A lot of Aftershock predictably involves screaming or shock cuts, and the movie features a blink-and-you-miss-it cameo from Selena Gomez.
  24. It would be nice to say that Rourke, at least, offers a reason to see this junky thriller, about an American agent who gets involved in an Indonesian terrorist plot. But as entertaining as it is to watch him adopt a strange accent and swan around in sarongs as an eccentric jewel thief, it’s also a little depressing. The paycheck cannot possibly be worth it.
  25. Black Rock is as dingy and dirty as the genre thrillers it appears to want to one-up. All it does, though, is bring everyone down.
  26. There’s no explaining the presence of Guy Pearce in Pauline Chan’s sappy, atonal family drama. But it’s easy enough to understand why he looks so uncomfortable throughout.
  27. Even young would-be botanists will find this charmless animated adventure as exciting as watching grass grow.

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