New York Daily News' Scores

For 6,178 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 The House of Mirth
Lowest review score: 0 Breaking Point
Score distribution:
6,178 movie reviews
  1. The result is a dull, high-minded soap opera.
  2. Like a worst-case-scenario, indie-movie cliché, Wendy and Lucy throws every bone it can at the screen.
  3. A slice of life that adds up to exactly the sum of its parts, no more, no less.
  4. The father is the only one who can leave the house to go to his factory job, and that seems like a paradise for viewers trapped watching this clinically shot claptrap.
  5. An underwritten drama.
  6. A documentary with too much dead time between the arduous tasks at hand, never grabs a viewer because -- sad to say -- it's too dull.
  7. The film is an exasperating bore.
  8. Polanski views things so mischievously that the naughtiness is neutered long before sniveling Thomas is tied to a pole. He’s a captive not only to Vanda, but also to all the dull, reductive mind games.
  9. Among cautionary tales of gloom-and-doom, it may out-gore Gore, but it doesn't entertain.
  10. By the time you've worked through the allegorical implications, you may be wondering why you didn't just go see "Charlie's Angels."
  11. Gets too caught up in its escalating violence and strained-to-bursting moral subtexts. It's the blood of souls drenching the screen, and it's a hideous sight to behold.
    • New York Daily News
  12. Possibly the sourest revenge movie ever, Audition starts off as a sweet, low-key romance, then abruptly turns into a grisly, sadistic thriller.
  13. A ponderously slow experience.
  14. Feels like reading someone else's diary. Undoubtedly, there's some very important stuff in there, but it's most interesting to the person who wrote it.
  15. Don't see The Inheritance if you're already depressed. This airless downer from Danish director Per Fly is about an heir who makes one wrong decision from which even lousier decisions effortlessly flow.
  16. Neighbors stakes its claim in suburban-property cliches. Given the dull, stale results, maybe the end of the world was a better fit.
  17. How anyone could make such an uninvolving movie out of such a fascinating subject remains its own inexplicable mystery.
  18. Johnson is convincing as a swaggering, jokey Lennon, but the photos of young John, Paul and George that end the movie ultimately have more punch than this bubblegummy montage.
  19. It would be easy to say that the final minutes of this mixed-up thriller make everything before it meaningless, but that would indicate the odd conclusion has meaning, too.
  20. Alas, this learned woman of letters - her expertise became the work of Dostoyevsky, whose major novels Geier nicknames "the five elephants" - is ill served by a trudging approach and dry-as-dust, procedural style.
  21. The latest - and really last-minute - documentary hoping to affect the presidential election is a deceptively partisan view of the Iraq War.
  22. The production is as gaily colored as the margaritas, but the overall result is wan.
    • New York Daily News
  23. Kick-Ass - based on a graphic novel - thinks it's so brave and bold. But it's more like the title character, a dweeb who just thinks he's tough.
  24. Splice is an unholy mess because it fuses together the worst parts of every bad medical-monster thriller, and then boldly cranks up the ridiculous.
  25. I Love You Phillip Morris not only blasts gay stereotypes back decades, it could actually make people wish for a third "Ace Ventura" movie. Both of those are an accomplishment, though neither is a compliment.
  26. Frenzied, gothic nonsense.
  27. Likely to draw a range of responses. Many will be transported by its gorgeous construction and breathless emotion. Others will find it patently ridiculous.
  28. 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.
  29. Laudable as its world-building is, the film drags not just in its interminable middle hour, but also during the redundant monster-on-mechawarrior smackdowns.
  30. Danish director Lars von Trier makes this tale of one woman’s banal sexual adventures into inadvertent comedy. The film makes an analogy between sex and fly-fishing — and fly-fishing comes off as more intriguing.

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