New York Daily News' Scores

For 6,176 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 5.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Timbuktu
Lowest review score: 0 Deuce Bigalow: Male Gigolo
Score distribution:
6,176 movie reviews
  1. Jessica Goldberg’s sluggish directorial debut feels like a leftover from the 1990s, when dank indie dramas littered film-festival lineups.
  2. What starts as a creepy, original conceit — mysterious Caesarean-section abductions during hospital stays — devolves quickly into standard talk-to-the-camera, jump-at-the-sounds, found-footage banality.
  3. The connection they share is clear; the reason we're invited to sit in is foggy at best.
  4. The only real reason to see this movie is to show unwavering loyalty to Cena. And even so, he'll never know if you wait to watch it on cable for free.
    • 38 Metascore
    • 20 Critic Score
    Most of this dull movie is played straight. But as a local UFO nut, genre stalwart Michael Ironside (“Scanners,” “Starship Troopers”) provides solid comic relief. He feels dropped in from another movie. Or another galaxy.
  5. It's also suffocatingly stagy, especially when the husband's new love (Kristen Bell) and a violent thief (Justin Long) show up.
  6. 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.
  7. The charmless but harmless A Cat in Paris hits theaters yet doesn't enchant.
    • 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.
  8. It's bluntly written, poorly shot and edited, and cruel without being clever.
  9. On the bright side, Ivan Reitman's disappointing new comedy isn't just cheap and formulaic, but so forgettable few people will even remember she (Portman) was in it.
  10. Both LeBlanc and Larter glide through the synthetic setup like pros, but they have no connection because their characters barely resemble human beings.
  11. 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.
  12. Directors James Mather and Stephen St. Leger stage a few good action set pieces, but unlike the 1981 midnight movie classic it imitates, the blandly titled Lockout never busts out of its cheesy concept.
  13. Ever fast-forward through a late-night cable romance just to get to the good parts? This amateurish relationship dramedy features all the stuff you'd skip, and nothing else.
  14. This is a perfect example of the kind of indie movie J.K. Simmons will hopefully never have to do again if he wins an Oscar for “Whiplash.”
  15. 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]
    • New York Daily News
  16. This Arthur is missing a soul.
  17. Von Trier ("Breaking the Waves," "Dogville") has no barriers, which absolutely can be a good thing. Here, though, his uninhibited nature is an omen of the pretentious butchery to come.
  18. Early scenes set up the tragedy, but the majority of Oliver Hirschbiegel's movie is set in a TV studio where the two eventually face each other, and the tension, unfortunately, quickly becomes stagey.
  19. This dark lark is like walking around Times Square looking at the flashy logos and lights and thinking you see the message behind the medium.
  20. What’s more depressing: that John Cusack chose the junky, un-exciting serial killer drama The Frozen Ground as his latest step away from John Cusack-y roles, or that Nicolas Cage chose to, at long last, be as un-Cage-like as possible?
  21. A tacky 'Fatal Attraction' for the lesbian set.
  22. The real culprit is first-time director Marcel Langenegger, who seems to have studied for his debut by watching nothing but Cinemax. The score hints at ominous activities that never happen, a rain machine provides the only atmosphere and the actors have to suffer through the silliest sex scenes in recent memory.
  23. As clichés trot through their sessions - it's like "In Treatment" as bedroom farce - we check out. Huppert, though, is as fearless as ever.
  24. The movie is played fast but lacks wit. The script, written by Kristin Gore — daughter of Al, and author of the book on which it’s based — mistakes frantic for funny.
  25. The atonal script is credited to first-timer Michael Brown, but there’s still no explaining Shapeero’s lump-of-coal debut.
  26. The danger in writing, directing, producing and casting yourself in the same movie is that there’s no one to pull you back from the cliff. Simon Helberg (“The Big Bang Theory”) did co-direct this grating vanity affair with his wife, Jocelyn Towne, but neither seems to realize how misguided it is at every step.
  27. If there were a Lifetime Channel for Men, Emilio Aragón’s unabashedly sentimental take on old age would surely wind up there.
  28. How does a comedy troupe even get from the frat-humor antics of "Beerfest" to the middle-class suburbanality of Babymakers? Well, everybody gets old eventually. Growing up, on the other hand, is optional.

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