New York Daily News' Scores

For 6,757 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 6.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Vera Drake
Lowest review score: 0 The Fourth Kind
Score distribution:
6757 movie reviews
  1. Laughable/Bad
    • 30 Metascore
    • 20 Critic Score
    Sorry, but this kind of high-school horror was old when Jamie Lee Curtis was young. All the ugly, shaky, night-vision camerawork in the world will not make it seem fresh. Or remotely scary.
  2. The brooding and emotional prickliness gets overwhelming. Kidman tries her best to flesh out her character, but writer-director Kim Farrant gives this still-undervalued actress little to do.
  3. “Holiday” is more palatable than similar, American-bred films like “The Family Stone” or This is Where I Leave You. Still, once Connolly’s sad-eyed, hippie-ish cancer sufferer is gone, there’s little reason to keep going.
  4. It may not be one of his finest roles or one of his more memorable films. But in its own way, Boulevard may be one that says the most about him.
    • 63 Metascore
    • 80 Critic Score
    This companion piece to Loach’s 2006 drama “The Wind That Shakes the Barley” tenderly conveys the generosity of working people. It’s the last biographical fiction movie the 79-year-old Loach has said he’ll direct.
  5. Director Benni Diez tries for schlock shocks in this giant-bug flick. Sadly, what’s left out here is the fun.
  6. Barnes, on the other hand, is the macho-sensitive singer coeds dream about. He plays guitar and repairs roofs, proving that sexy and useful is a winning combo. Barnes reminds me of a young John Hawkes — with a little bit of Nick Drake.
    • 85 Metascore
    • 80 Critic Score
    The result may be depressing, but the performance footage balances it with rousing evidence of Winehouse’s eternal talent.
  7. There’s politics involved, along with personal stories, extraordinary tense standoffs and down-and-dirty drug business.
  8. One achievement of James Cameron’s “Terminator” is that it overcame its low-rent, B-movie trappings. The great sin of “Genisys” is that it costs millions and yet isn’t worth a dime.
  9. There are laughs in Magic Mike XXL.... But the real eye-openers are the moments of sex-positive, woman-positive and emotion-positive contemplation.
  10. Early on, the doc is lively, with witty animation. As the music and the fashion trickle up, both getting more polished and produced, the film also settles down. It’s still interesting, just not as much fun.
  11. Corey Stoll is the only reason to sit through this muddled Jersey-set drama.
  12. There are parts of “Escape From New York,” “Air Force One,” “Cliffhanger” and countless Luc Besson movies strewn about. Big Game doesn’t stomp on their memory, but like an overenthusiastic fan, it does smother them with amateurish zeal.
  13. Director Andrea Di Stefano’s filmmaking debut has a spotty sense of urgency, but we get to know neither Nick nor Escobar, so both the innocence and the fiery threat lack impact.
  14. Max
    Dullness, as well as hoary preachiness, neuters the family-and-their-war-dog drama Max.
  15. This is dark stuff, but a striking humanity shines through.
  16. Scott’s story is inspiring, as is the way everyone pitches in, from the police to the San Francisco Giants to Hollywood special effects geniuses to President Obama. But as a movie, this is like watching an expanded local news segment.
  17. Well, that was the longest seven minutes of my life. An uninspired tale of a small-town robbery gone wrong, 7 Minutes abounds in clichés.
    • 48 Metascore
    • 20 Critic Score
    Ted 2 is the equivalent of a middle school bully. It's not as funny as it thinks it is. Its penchant for casual cruelty masks a hollow soul. And it will be totally forgotten once we move onto bigger and better things.
    • 37 Metascore
    • 20 Critic Score
    How did the guy who made “Gremlins” and “The Howling” direct this cheap-looking, sophomoric, unfunny dreck?
  18. Rory Culkin’s turn in the deeply felt and haunting Gabriel is so powerful you can’t look away.
  19. The tone is fast and funny, with a modern “Risky Business” or “Ferris Bueller’s Day Off” vibe, but there’s an additional layer that stems from the violence of the neighborhood.
  20. Marc Silver’s documentary is mostly hands-off in terms of gun politics. There’s no voiceover other than the Greek chorus of talk radio, as footage from the trial is used to document the case. Mixed in are interviews with Davis’ friends and family, plus recorded phone calls from Dunn while he was awaiting a verdict.
  21. Saldana has a harder lift, as Maggie is striving for something better yet has to often be reactive. In scenes with the adorable Wolodarsky and Aufderheide, she listens and acts intently. But there are too many times when she’s forced to just look worried. Still, Saldana, like so many things in Forbes’ likable but tricky film, does her best in a tough situation.
  22. Most of the young men interviewed by Berg will be seen, and heard, by many audiences for the first time. Their voices are hard to forget.
  23. The era deserves far better than hipster nostalgia.
  24. How do you make one of the decade’s most sensational crimes boring? It’s an odd trick, but director Michael Winterbottom manages it in The Face of an Angel, a stubbornly dull retelling of the famous Italian case.
  25. Inside Out is the year’s best film so far. After you see it, you’ll say that’s a no-brainer.

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