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. A masterful collection of cinematic essays.
  2. Noah Baumbach’s sensational satirical drama While We’re Young is, finally, a movie for grownups to run out and see.
  3. In Wide Blue Road, his (Montand) character and the wages of desperation are much more complex. Here is the real lost Atlantis.
  4. A small miracle of comic social portraiture, a sometimes affectionate, sometimes ironic study of a specific group at a specific moment. His work is deeply evocative and enjoyable.
  5. It's not so much good material as divinely inspired delivery.
  6. Rarely do adaptations of stage plays work on screen, and almost never do they work as well as this one does. Most remarkably, the dryly comic "Moon" is virtually a one-man show.
  7. The performance of the movie is Liev Schreiber as Shaw, a man howlingly uncomfortable in his own skin.
  8. A generation-spanning journey that feels both comfortingly familiar and excitingly original.
  9. Kempner demonstrates how the star's success and dignified bearing inspired a generation of Jews to fight through the ethnic barriers in all fields.
  10. Gently hilarious comedy.
  11. A brilliant and astounding black comedy.
    • 75 Metascore
    • 88 Critic Score
    "I write 19th-century stories; they're supposed to affect you emotionally," says Irving, explaining why Tinseltown keeps knocking at his door.
  12. Based on the true story of the first emperor of unified China, could be downsized and told as an American Western.
  13. The plot is intricate and tight. The preamble is a bit challenging to sort out. But the movie's engine is the relationships and the characters' inner lives, all of it boiling with emotional intensity.
  14. This amazingly beautiful, and amazingly frightening, documentary captures the immediacy of what climate change is doing to the Arctic landscape.
  15. A fascinating whirl of politics and palace intrigue.
  16. The performances are all terrific, but Gene Hackman is close to a career best as the family patriarch Royal, the most useless man you can't help loving.
  17. Shrek 2 delivers more fun than there is slime in a green ogre's swamp. Much of that is thanks to Antonio ­Banderas, who runs away with Shrek 2 on little cat feet.
  18. Less bloody than its predecessors, Lady Vengeance wraps up with a killer (literally) finale that calls into question the killer instinct. It's one of the reasons Park's brutal films are so emotionally rewarding.
  19. The story is compelling, but Metropolis is such a visual masterpiece, it's easy to get lost within its seemingly endless layers of graphic complexity.
  20. Built from a perfect story-telling collaboration.
  21. Remarkable first film.
  22. Moll clearly has looked to Hitchcock and Clouzot for inspiration. There are sexual undercurrents between characters, psychological quirks and a murky veneer like the surface of the pool in "Diabolique."
  23. Levinson is so skillful at developing personalities, even among the story's would-be villains, that by the halfway point of the movie, every gesture and expression has unexpected depth and texture. The performances are across-the-board superb.
  24. Features an absurdist sensibility that ultimately melts your heart. It's certainly one of the stranger movies you'll see.
  25. Yet another film from Iran that has the leisurely pace, sly humor and incontrovertible wisdom of a Sufi parable.
  26. Fascinating, amusing and ultimately disturbing.
  27. As wide-ranging, and yet as sharply focused, as Mikal Gilmore's book.
  28. A simple story that resonates deeply, largely thanks to the actors' ability to invest it with inner life.
  29. Moore's most assured, least antagonistic and potentially most important film.

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