New York Daily News' Scores

For 6,718 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 6.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Atanarjuat: The Fast Runner
Lowest review score: 0 I Hope They Serve Beer in Hell
Score distribution:
6718 movie reviews
  1. Airplane loses its buoyancy. Jim Abrahams, David Zucker and Jerry Zucker, who share both writing and directorial credits, become so desperate for laughs that the jokes descend to a much cruder level. And Airplane does an abrupt nosedive, turning a hopelessly flat movie, sparked only by the occasional appearances of Lloyd Bridges as an easily rattled air traffic controller whose nerves are such he depends on booze and pills to keep himself going on the job.
  2. Becomes too melodramatic and bleakly obvious. Weaving, though, as always, is never less than magnetic.
  3. Shares a spiritual link to the Japanese works of Hayao Miyazaki but lacks his films' narrative drive and magical overlay.
  4. Goes about its game so bloodlessly, the result is some of the most unexciting action and seduction sequences in recent memory.
  5. Gere and Grace do make a decent odd couple, but neither seems entirely committed.
  6. Children, of course, won’t notice the political subtext. But do be prepared for them to exit the theater demanding that you make only Tofurkey in the future.
  7. Anthony Byrne's lazy drama is insulting to just about everyone, including Maeve Binchy, who wrote the short story on which it was based. But nobody fares well, especially cast members Vanessa Redgrave, Brenda Fricker and Imelda Staunton.
  8. The story here, like a lot of bar bands, goes loud to cover up mediocrity. When Streep sings, though, so does the film.
  9. Director Sergei Bodrov’s movie is based on a kids’ book in which Tom was a 12-year-old, and the actors wisely pitch their performances to a young crowd.
  10. There’s a line between artfully contemplative and just plain boring. This film eventually crosses it into Snoozeville.
  11. The deeply private, intensely ideological and undeniably brilliant Watterson would make an absolutely fascinating subject. But director Joel Allen Schroeder has no access to him. So instead he talks a lot about how much he loves “Calvin and Hobbes” and then invites other fans to do the same.
  12. Racing enthusiasts will appreciate historical footage, while a thread about a new student overwhelmed by his responsibilities has promise. But after a decent start, Marquet stumbles, never making it across the finish line.
  13. Weitz – who did a great job adapting Nick Hornby's "About a Boy" into an affecting 2002 movie – can't bring the pieces together here.
  14. It would have been helpful had Smith put his words into some sort of context, allowing others to assess his theories. Instead there's simply Ruppert, talking, raging and warning, as if his very life depended on it.
  15. Jones co-wrote the uneven script with Will McCormack, and one can't help wishing she'd aimed higher. Acknowledging cineplex clichés isn't enough if you still wind up embracing, rather than subverting, them.
  16. Though the cast is energetic and the intrigues diverting, you'll have to distance yourself from reality to enjoy so much outlandish scheming.
  17. Don't be fooled by the indie trappings: despite its downtown vibe, Lola Versus is as clichéd as any Hollywood rom-com.
  18. Cage, adopting an accent that could best be defined as Just British Enough to Sound Serious, adds some welcome weirdness to this otherwise generic production. He doesn’t fit in at all, but then again, who’d want him to?
  19. Too bad this would-be heir, Divergent, is so unimaginative and bland.
  20. The great David Strathairn can make any film watchable, but even he can’t save this dry dramatic thriller.
  21. A brazenly mindless thriller about the infinite capacities of the human brain. That said, sometimes we just want to shut down and give in to bombastic summer entertainment. In that regard, as usual, Besson delivers.
  22. As a film, the result is static, like Ang Lee’s similarly muddled “Taking Woodstock.”
  23. Empathy for the all-too-real plight of the working poor drives this heavy but bold indie. Sadly, though, it falters under the weight of too much drama.
  24. Feiffer sometimes gets snagged on the look-at-me nature of her meta-performance, veering from pathological to pathetic, and not always in the best way.
  25. Alas, the split-screen compositions, slow-motion effects, pensive closeups and prosthetic teeth can’t distract from what’s missing: Faulkner’s pointed but deeply buried observations of the human condition.
  26. Kessler has indeed made a film about a fame-chasing narcissist in desperate need of attention. But that has nothing to do with the guy we came to see.
  27. The only real reason to see it is for a luminous leading turn from Dakota Fanning as Brooklyn teen Lilly.
  28. Sometimes, less is more. Case in point: Thanks for Sharing, a film that’s a little too eager to be ID’d as a “sex addiction dramedy.” As a result, solidly grounded performances from almost all the cast members wind up playing second fiddle to navel-gazing.
  29. Despite early promise for a semi-interesting examination of teenage obsession, the film devolves into a standard, and not thrilling, body-count builder. And the “twist” ending is one of the more annoying in recent memory.
  30. It's the same movie town we've seen many times before, with dingy mechanic's shops, barren parking lots and a greasy-spoon diner where all the clichés come together.

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