New York Daily News' Scores

For 6,747 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 7 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Anomalisa
Lowest review score: 0 Dischord
Score distribution:
6747 movie reviews
  1. Besides repeating his premise that only fools fall in love and deserve whatever circle of hell they enter for it, he seems to really believe that morality has no place in art. Certainly, he's keeping it out of his.
  2. Doesn't so much crackle as pop. It has enough double entendres to fill a D-cup, but it has a premise that would have burned a hole in the screen in 1962, when its story is set.
  3. One of the small pleasures of the movie is likely to escape American audiences. The bank robber is played by Johnny Hallyday, a pop icon of great magnitude in France, and the old man is played by Jean Rochefort, an acting staple of that country's cinema. The mere juxtaposition of these two personalities forms a comic set of expectations.
  4. Has many of the qualities that made the actor such a great target for self-parody in Spike Jonze's "Being John Malkovich" - it's sober, deliberate, self-consciously mysterious and no fun at all.
  5. Anyone familiar with Reno's politically minded monologues won't be surprised by her fury, which has sometimes been fueled by a self-righteousness that's undermined her valid observations.
  6. Hoffman is a fine actor in a rut, working on a string of socially alienated characters who are variations on the same theme. That's too bad, because the story being told around his static presence is amazing.
  7. Satire works when it's sharp and funny. When it's not, you get New Suit, an unremarkable sour-grapes comedy about the obsequious players and inconsequential products of Hollywood.
  8. A substantial improvement over "X-Men," in many ways, especially in visual and specialeffects departments.
  9. Not a single moment of creativity or intrigue is to be found in the big-screen debut of the Disney Channel's most popular sitcom character.
  10. Even without nudity, the sex scene between Meg and Auster is one of the most uncomfortable on film. Not just because of the actors' age difference (Strathairn is 54, Bruckner 17), but because of Meg's inexperience and misplaced trust.
  11. This could be a documentary about reading the body language of childhood.
  12. A fascinating movie that, if you are able to make the leap it asks of you at about the three-quarter mark, will give you something to think and talk about for days. One thing is certain: It isn't predictable.
  13. As pulp entertainment, Confidence is great fun and Foley's first good movie since the very different "Glengarry Glen Ross."
    • 44 Metascore
    • 25 Critic Score
    The family's all here and surely, with all their accumulated years of wisdom, they should have been able to distinguish a cloying script when one fell into their hands.
  14. This badly written, badly directed and badly acted little movie about an ordinary guy from Jersey who discovers passion with a fashion plate in Manhattan looks great.
  15. As earnest as it is awkward, the film has so much spirit, it's hard to dismiss entirely, even at its considerable worst.
  16. It was filmed in and around the World Trade Center, and the subsequent cuts, reshoots and sleights of hand designed to obscure that fact prove devastating.
  17. Searching for a documentary feel, the camera here is so shaky that you cling to the arms of your chair lest you pitch into the next row.
  18. The hand-held camera is much too insinuating for what is essentially a story we have seen many times before. And the cuts and transitions are dizzyingly abrupt.
  19. Something less than a gem. It has a brilliant lead performance from Yuliya Vysotskaya as Janna.
  20. It's part grim Beckett-like drama, part joyous picaresque, and all quite mesmerizing.
  21. This is not a film for the impatient. But director Aparna Sen finds the poetry in romantic restraint, which is a mighty rare resource these days.
  22. An uncensored, often hilarious vision of spring break madness that is so perfectly positioned on the big screen, the only question you can ask its creators is, "What took you so long?"
  23. Whether you lived through the period and will have fond memories jostled, or are scouting for future DVD pleasures, the surest way to see a good movie in a theater this week is to see one about them.
  24. It clearly wants to be more, but it's failed by its lightweight leads.
  25. An unerring sign of the awfulness of Malibu's Most Wanted is a series of the least funny outtakes ever appended to a movie's closing credits.
  26. The ideal movie for people too lazy to read a Harlequin romance, this by-the-numbers love story doesn't offer a single surprise.
  27. It's not the best of von Trier, but the movie is shot in an unforgettable, haunting style that evokes both Bergman and the silent era.
  28. a despairing movie that you can't look away from, though you'll wish you could.
  29. A great family movie, with a terrifically empathetic young hero, strong messages about the powers of familial love and friendship, buried treasure and enough action to keep the little ones from getting bored.

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