New York Daily News' Scores

For 6,680 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 6.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 All About My Mother
Lowest review score: 0 I Will Follow You Into the Dark
Score distribution:
6680 movie reviews
  1. Alexandre Aja’s supernatural thriller Horns isn’t an entirely successful movie. But with a committed Daniel Radcliffe in the lead, it’s a consistently intriguing one.
  2. The movie shows the city as both an intimidating and enticing place for new arrivals, but ultimately gets bogged down in the cliched split destinies and intentions of its main characters.
  3. Words and story are still the lifeblood of a movie, and Jennifer's Body is filled like a Twinkie with half-fleshed-out ideas.
  4. Only the extremely naive will be shocked, shocked by director Morgan Spurlock's dissection of product placement in movies.
  5. It's always dispiriting to see an ideal subject given shallow treatment, and one spends most of this documentary wishing a more experienced director had made it.
    • 58 Metascore
    • 40 Critic Score
    Intellectually intriguing but sadly dull biopic.
  6. The central metaphor of dance, though, is forced, a standard-issue cliché about dancing away problems.
    • 67 Metascore
    • 40 Critic Score
    The movie can’t decide if it’s a drama about homophobia, a horror-tinged thriller or psychological surrealism. The cross-pollination makes for some nice-looking scenes. Ultimately, though, there’s a crop failure.
  7. While foodies are sure to feel sated by the gastronomic splendors of Paul Lacoste's debut documentary, others may walk out with a strange sense of emptiness.
  8. This overly twee, morbidly cute romance initially digs up the ageless "Harold and Maude" as a touchstone before it slips the coils of watchability.
  9. The result is far too high-and-mighty to truly be moving.
  10. This sweet if limited film has an agreeable attitude.
  11. Strong performances and understated cinematography help balance the self-conscious editing, but ultimately the entire affair feels false.
  12. If ever a thriller were to inspire a collective "eh," it's got to be The Roommate. It's not a good movie, by any means, but it's also not bad enough to have fun hating on.
  13. Instead of ever getting truly "Magnificent," these multicultural gunslingers remain largely a meh seven.
  14. Liberal Arts is at its most nauseating when we hear Jesse and Zibby read their oh-so-self-aware love letters.
  15. Houston does his best with an unlikable character, and the young actors are appealing enough to keep us watching. The movie itself, however, is a mess.
  16. It's a shame, but perhaps no surprise, that Niederhoffer was unable to transfer her astute vision to the big screen.
  17. After a clever start, Spurlock turns self-serious, aiming to teach us something about our enemies and ourselves.
  18. Unfocused and underwhelming.
  19. Dominic Cooper gives a riveting dual performance in The Devil's Double, but the movie is a relentless one-note drama that loses its momentum halfway through.
  20. Anyway. Here's what matters: The dance scenes are great. While no more revolutionary than the "political" plotline, the flash-mob concept does allow for more creative choreography than this series has seen in some time.
  21. Close and McTeer, an evenly matched odd-couple pairing, keep it real. They do the heavy lifting, and are utterly enchanting, whether in bonnets or boots.
  22. The script is a mess, built on lazy clichés, stilted jokes and easy payoffs. What the movie does have, though, is enthusiasm.
  23. Boredom is the very basis of this sequel, at least at the beginning.
    • 63 Metascore
    • 40 Critic Score
    Pitch Perfect 2 follows the same template as part one, but it’s unmemorable.
  24. The jokes in Warner Bros.'s new animated flick mostly fall flat, the characters are largely unlovable and the simplistic plot expects more from its audience than it gives.
  25. The performances range wildly from high (Banderas) to low (Birgitte Hjort Sørensen as Jacq’s pregnant wife) to you-must-be-kidding (Melanie Griffith as both a scientific genius and a prostitute android).
  26. It’s a shame to see both actor and director play things so safe. Not only is much of the choreography reminiscent of their better films, but they rely too much on digital effects. Instead, we should be awed solely by the sight of a first-rate fighter.
  27. It's up to you to decide if his oddly artsy vision, which pulls in first-person perspectives, surreal memories and highbrow cinematic references, suggests interesting ambition or misplaced pretension.

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