New York Daily News' Scores

  • Movies
  • TV
For 5,980 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 5.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Hugo
Lowest review score: 0 Maniac
Score distribution:
5,980 movie reviews
  1. The movie’s ennui feels like so much posing, and the Bret Easton Ellis-lite characters are monotone. It’s rich in effort, but it all comes to diminishing returns.
  2. As for our leading man, he’s clearly just messing with us now. Who else would make a revenge thriller called Rage and then sleepwalk his way through it?
    • 50 Metascore
    • 20 Critic Score
    The film’s “What if?” scenario takes the germ of an interesting social-science idea and lets it rot in a nasty, ethically questionable cesspool of junk cinema.
  3. It’s admirable that writer/director Michael Walker wanted to make a socially conscious thriller. But surely he didn’t have to replace all the thrills with broadly moralizing messages.
  4. The Expendables 3 lets down its cast with a film that’s about as thrilling as the arrival of a monthly Social Security check.
    • 12 Metascore
    • 20 Critic Score
    This is a washout lacking jokes or scares.
  5. The compelling Draper’s the creation of “Mad Men” mastermind Matthew Weiner, the writer-director of Are You Here. Which begs the question: how could Weiner make, as his debut comedy, a movie as amateurish and off-putting as this one?
    • 17 Metascore
    • 20 Critic Score
    The Prince isn't just awful, it's depressing.
  6. Writer-director Carter Smith got his start as a successful fashion photographer. But you wouldn’t know it from the murky look of this generic thriller.
  7. There are no twists or even surprises, except the final realization that director Alan White is taking his culturally clueless, ineptly shot B-movie totally seriously. Judging from the uniformly underwhelming performances, he’s the only one.
  8. In a movie, nothing good ever seems to happen at a country house. And when it comes to this film, nothing very interesting happens, either.
    • 37 Metascore
    • 20 Critic Score
    Wallis is commendably restrained and Alfre Woodard adds class as Mia’s wise ally. But Annabelle is a vortex of visual clichés beyond rescue.
  9. This one has a screenplay by Stephen King, adapting his own short story. Unfortunately, that can’t save this low-budget thriller.
  10. As for Jackson, he strolls through the nonsensical story so casually, one suspects his mind is on other things — like what he’ll do with his paycheck. He has probably already moved on. We’ll happily do the same.
  11. Director Jake Paltrow’s stark sense of place fades as familiar genre elements are introduced. It winds up like “There Will Be Blood,” but with H2O, not oil. It’s food for thought, nothing more.
  12. There have been times when the right team has been able to transcend the gooey schmaltz of Sparks’ stories. This effort, however, sinks like a rock thrown into a sun-dappled lake shaded by magnolia trees sparkling under a sky of shooting stars.
  13. The result is a throwaway story hidden beneath a messy jumble of weird camera angles, worthless editing tricks and an ill-placed, obnoxious score.
    • New York Daily News
  14. With its amateurish performances and sloppy script, Hey, Happy! has the homemade feel of a cult movie, but very little of the charm.
  15. Less a movie than a very expensive display of Afro wigs and macrame wall hangings.
  16. The actor's directorial debut is a lugubriously poetic homage to the famed Chelsea Hotel, which is to New York's artistic and beatnik past what Ellis Island is to the story of American immigration.
  17. Manages to jerk more than a few tears at all the right moments.
  18. The cinematic equivalent of a gangsta rap song, State Property is little more than a marketing tool for Roc-A-Fella Records.
  19. Racist, misogynistic and breath­takingly cynical, Ernest Dickerson's clichéd crime drama Never Die Alone shamelessly exploits the degrada­tion of its irredeemable characters.
  20. Dumber than the worst UPN sitcom.
  21. Just because Dimension considered Greg McLean's nasty exploitation flick worthy of their time and money doesn't mean it deserves yours.
  22. The humor is infantile at best (projectile vomiting and bathroom jokes) and meanspirited at worst (midgets and gays, look out).
  23. Grim, bloody and relentless, without even a spark of fun or intelligence, Evil is barely good enough for late-night cable.
  24. Well, it was bound to happen: The Wayans brothers have made a movie that's even more two-dimensional than a cartoon.
  25. Every movie's gotta have a gimmick, and Crank's is that it has an excellent shot at ending 2006 as the worst film of the year.
  26. The film is smugly hypocritical at every turn, loudly preaching the evils of sick voyeurism while encouraging its audience to cheer every gruesome death. It's not only morally bankrupt but, between the ludicrous script and Z-level acting, scrapes the bottom of the entertainment barrel, too.

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