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 The Lord of the Rings: The Return of the King
Lowest review score: 0 Splice
Score distribution:
6747 movie reviews
  1. Despite its problems, there's a touching sweetness at the heart of Nancy Savoca's intimate family drama about estranged sisters trying to reconnect.
  2. The cool cast includes casual drop-ins from Sam Rockwell, Melanie Lynskey and Sam Elliott. The actors give off the feeling that we’ve wandered into the middle of a conversation among friends. This being a Swanberg movie, that’s kind of what is happening, complete with tiny epiphanies and people you want to hear keep talking.
  3. This is a mother's tale, and in Swinton's expert hands, Eva must ultimately deal with the fallout from an uncomfortable truth: She just never liked her kid.
  4. Credit goes to director Sam Taylor-Johnson and her screenwriter, Kelly Marcel, who've stripped the first book of its biggest flaws, while still honoring its essence. And lead Dakota Johnson makes for an ideal heroine, though — as doubters feared — her chemistry with costar Jamie Dornan doesn't always sizzle.
  5. Overly familiar but endearing nonetheless, this coming-of-age indie from Alexis Dos Santos is most likely to appeal to those who recognize themselves in the story's lost heroes.
  6. "Mad Men" co-star Hendricks’ radiant beauty works in striking contrast to the near-apocalyptic surroundings. Even though this movie is unusual, Hendricks emanates classic Hollywood movie-star appeal.
  7. The script, co-written by Bouchareb, is regrettably simplistic. But Blethyn and Kouyaté inhabit and expand the film's earnestly instructive intentions, leaving us with a deeply-felt experience rather than a naively-sketched lesson.
  8. Like a more personal, less pretentious version of Alejandro González Iñárritu's "Babel," this spiraling dissection of circumstance, choice and fate is more about thoroughness of vision than tricky storytelling.
    • 73 Metascore
    • 60 Critic Score
    This important, moving event was, as we know, documented in real time, but in Uprising gets put into a crucial context.
  9. Whether accurate or not, it's certainly entertaining to watch regal intrigues through the eyes of lady-in-waiting Sidonie (Léa Seydoux). That Jacquot handles the action so lightly is a credit, considering that it takes place during some of the tensest moments of the French Revolution.
  10. The twists and turns involve a high-level assassination, corrupt cops, squint-inducing violence and plenty of fearlessness.
    • 43 Metascore
    • 60 Critic Score
    It's riveting stuff, but Merola might have strengthened his argument with a little journalistic balance.
  11. Though the film ultimately falls short of its considerable promise, there's more than enough here to keep thoughtful moviegoers - of any age - intrigued.
  12. Though Bloom feels like he dropped in from another movie, it all spins on screenwriter Thornton's charismatic performance, which also accounts for the survival instinct inside the film.
  13. The claymation visuals are charming, and an enthusiastic, if somewhat underused, cast works hard to sell the better jokes (though the funniest gag is a silent monkey butler).
    • 37 Metascore
    • 60 Critic Score
    By the end of this romp, Fun Size actually accomplished something charming: sentimentality without normality.
  14. Fans of PBS, history and a certain kind of old-fashioned moviemaking may fall in.
  15. Wiseman films it all without comment, letting the rhythm of the place tell the story.
  16. Even the youngest viewers, not to mention their parents, will appreciate the buffoonish villainy of the dogcatchers (still useful villains more than half a century after "Lady and the Tramp"), and the movie's nice anti-kill shelter message is as it should be.
  17. The laughs are what keep the film together, even when the conceit feels been-there-done-that.
  18. Alightly boring, but slightly moving film.
  19. As vanity projects go, this one’s unusually well-made — as any portrait of an iconic stylist ought to be.
  20. It’s a pleasure to see Russo back on screen (she’s married to Gilroy). But Nina’s eager complicity is far too easy and every social critique flashes as bright as the neon guiding Lou around back-alley L.A.
  21. Crystal and Midler are such confident pros that their crack timing elevates even substandard material.
  22. This is a terrific time capsule with a resonant message.
  23. Amid all the hokey hill stuff, Lawrence's hard eyes and manner draw us in.
  24. Levine offers a mostly sharp takedown of middle-class hipsterdom, and he's terrific as a guy whose easygoing demeanor hides continuing growing pains.
  25. Acclaimed director Nuri Bilge Ceylan's meditative, at times maddening expression of human mystery and barren landscapes is gorgeous to look at, intriguing to think about and, at times, hard to sit through.
  26. Every aspiring performer will appreciate Gregori Viens' unassuming comedy, which cheerfully skewers industry pretensions and media-fueled trends.
  27. In a film that deliberately recalls 1970's "Five Easy Pieces," Dano's performance as a lost dreamer running from adulthood resonates beautifully.
  28. Washington is terrific as Roman. The character may be unclear, but the actor’s commitment is focused, and his anger and indignation are sharp and painful.
  29. Oddly, Craig Brewer has softened the tone for his remake. But nearly everything else remains intact, and -- surprisingly -- that's just enough to win us over.
  30. His story, like the current release "A Separation," shows a glimpse inside Iran of everyday reversals of fortune, and how easy it is to get caught in the crosshairs of bureaucracy, bad judgment and bad luck.
  31. There's not much to it, but Austin Chick's hyper-focused indie does serve as a nicely assured showcase for lead Josh Hartnett.
  32. Though every frame is great to look at, Bolt's script - by the co-writers of "Mulan" and "Cars" - lacks the wit of its closest Pixar relative, "The Incredibles." Rhino and some goofy pigeons provide the few laughs once the tale goes cross-country.
  33. Wallace layers on some era-specific meaning to Chenery, who seems to be simply following her lineage, thanks to Lane's quietly dignified performance. Malkovich is more fun, though Laurin isn't as outrageous as the movie thinks he is.
  34. There are dull spots, as with any other day, yet "Life" aims to be, and occasionally is, like a YouTube-y "Our Town," giving a sense of what it is to be alive on planet Earth.
  35. Fred Schepisi's sly, stately comedy-drama that will please fans of BBC melodramas. But even on its own merits, its mild manner has sneaky stings.
  36. This isn't a therapy session on film; it's a visually stark, lively, organically engrossing movie with a very real handle on the mental processes, and interpersonal demands, that come with issues of life and death.
  37. Utilizing copious film footage of her puckish subject and new interviews with Haring's contemporaries, gallerists and mentors, director Christina Clausen makes her fascinating movie as big-hearted, city-centric and energetic as its subject.
  38. A solidly entertaining summer movie is always welcome, even if it can't quite claim to be out of this world.
  39. The truth is, the mystery pales next to the best "X-Files" plots. But fans will appreciate sly references to past episodes, an unexpected appearance from an old friend and the still-poignant bond our heroes share.
  40. Fans of the book may resist the efforts of director Tran Anh Hung ("The Scent of Green Papaya"), simply because it would be impossible to capture the essence of Murakami's prose. But this exquisitely filmed, often haunting tragedy is worth taking on its own terms.
  41. The actual Taqwacore movement is distilled in blatantly simplistic fashion, but Zahra does capture the novel's adolescent excitement, in which a new generation rediscovers rebellion all over again.
  42. A pensive and searching drama that explores how deep into the national psyche these murders in the Katyn forest went.
  43. More deft than it first appears, director John Crowley's gentle-but-not-sappy drama features another late-day masterpiece-in-miniature from Michael Caine.
  44. Korean director Im Sang-soo can't improve on Kim Ki-young's 1960 original, a jarring and operatic cult favorite. Still, he does tweak the themes in intriguing fashion.
  45. It's all compelling, in the way reading trashy gossip usually is. But without any new perspectives, what's the point?
  46. The introduction isn't as smooth as it could be, but eventually everyone settles into the right groove.
  47. We see brief, graphic shots of naked actors performing sexual acts. But it’s the conversations about what those depictions represent that truly provoke.
  48. The serious-minded result has many super-cool moments. But when it gets clunky, it’s super-meh.
  49. Writer/director Patric Chiha brings a knowledgeable weariness to his feature debut, as his story heads toward an end that feels familiar in all the right ways.
  50. Avatar clears the hurdle in terms of being optical candy. Its story, though, is pure cheese.
  51. What director Andrew Stanton has brought forth from Burroughs' limited, hoary source material is actually kind of fun.
    • 31 Metascore
    • 60 Critic Score
    They don’t come more clichéd than this indie road movie about three runaways who bond as they drive. But riveting, full-blooded performances from the young leads and a tough-love ending raise it above what you may expect.
  52. There is indeed much beauty on display, from the icy Taiga landscape to the age-old trapping techniques passed on through generations. But this does feel like a lesser Herzog project (he joined on after it was shot). For viewers who don't share his awe, a short film probably would have sufficed.
  53. Chow’s movies are always as sweet as they are silly, a combination he once again balances — alongside cool effects — with typically deft irreverence.
  54. Felix and Meira is tender and sad, and wonderfully shot in snowy Quebec, but ultimately fails to connect. It’s such a gentle whisper of a film, it’s hard to hear what it wants to say.
  55. It's a slow time at the cineplex, and the sinister scares served up by Brad Anderson are just spooky enough to freak out undemanding horror fans.
  56. Giamatti is one of the few guys who could take a joke about a chickpea-sized soul and make a meal of it.
  57. Writer-director James Mottern's drama has a lived-in feel, but is notable mainly for Michelle Monaghan's glam-less turn as Diane.
  58. National Geographic meets the WWE in this brutal, brawling revenge tale set in pre-Colonial New Zealand, mixing insight into indigenous Maori culture with barked dialogue and vicious arterial sprays, making for a simple but exciting adventure.
  59. 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.
  60. Often static and follows a familiar trajectory. Yet it has power, partly because Simmons does a fine job of showing how hurt Henry is that his taste didn't imprint on Gabe beyond grade school; what was their music became, simply, dad's music.
  61. Lars von Trier's end-of-days drama Melancholia feels as if it's something from another world...but even by his standards this remote yet lovely funereal dirge is in its own orbit.
  62. You'll want to see Eytan Fox's acclaimed 2002 drama "Yossi & Jagger" before watching this intimate, often-moving sequel.
  63. Burrell doesn’t quite capture the wry deadpan of the original, but then, neither does the movie. That’s okay.
  64. 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.
  65. Bertino does an excellent job building dread, especially during the first half of the movie. Every silence, pause and sudden noise startles - and the results, frankly, are more frightening than the graphic torture scenes in movies like "Hostel" and "Saw."
  66. Riveting, especially since these animals' population has horrifyingly dropped from 450,000 to 20,000 in a half-century.
  67. 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.
  68. Falls short of being revelatory, yet has a mysterious, sturdy power that grows on you.
  69. His outlandish story feels only half-told - though still twice as fascinating as most.
  70. The script relies on too many unlikely twists, but Bleibtreu manages to sell them all.
  71. There are certain films - let's call them Road Map Movies - that drive you directly from point A to point B to point C, with barely a stop for gas. Cadillac Records is such a film: You see all the major landmarks, but how enlightening can a road trip be if you never even get off the highway?
  72. So with a wink, a nudge and a heaping portion of Midwestern charm, Thin Ice reels us in. Comparisons to "Fargo" and other convoluted little capers like "House of Games" are fair, but when taken on its own terms, this quirky drama thrums along in a low-blood-pressure way.
  73. The filmmakers' motivation couldn't be clearer: They needed to capture a way of life that may soon exist only on film and in memory.
  74. Winstead and director James Ponsoldt add something gripping and modern to the cinema of recovery, a well-mined genre that can still, it seems, yield thoughtful surprises.
  75. Director Nick Hamm's movie is sparky and fun, and full of affectionate pokes at the '80s music scene. It's also, in terms of music biopics, probably better than the real thing.
  76. The young cast is generally okay. The real pleasure is the rare appearance by Oscar winner Faye Dunaway, who plays as a woman who may know how to defeat this spirit.
  77. Real-life geopolitical blunders aside, The Interview generally hits its marks. And every time it does skid into juvenile idiocy — with too much scatological humor, for instance, and an overuse of “you-go-bro!” attitude — it follows it with a stride or two toward uproarious meta-satire.
  78. Avila has a tough task, visualizing violent and complicated events through a child's eyes. The calmer scenes are staged in staid and somewhat clunky fashion, but the graphic animation depicting the worst moments is starkly effective.
  79. Like the politicians it skewers, it knows the real winner is the stupidity, stupid.
  80. The movie itself is an intriguing but ultimately unspecial Feds-vs.-hoods drama. But as the sinister, snakelike South Boston criminal Whitey Bulger, Depp delivers.
  81. As a wry, knowing narrator guides us in and out of their symphonic affair, there’s no doubt the trip is worth it.
  82. More serious-minded than expected, with a unique and savvy point of view.
  83. This is dark stuff, but a striking humanity shines through.
  84. Owing a debt to Albert Brooks’ early comedies, Red Flag might be too much if it weren’t just right.
    • 42 Metascore
    • 60 Critic Score
    Director Andy Capper crafts a surprisingly moving story, particularly in Snoop’s reactions to the deaths of Biggie Smalls and Tupac Shakur.
  85. Fanning's Currie grabs the spotlight immediately, and never lets go.
  86. The Hitman’s Bodyguard is a movie for anyone who just wants to see Samuel L. Jackson curse, Ryan Reynolds smirk and Salma Hayek kick butt while looking absolutely incredible. Not that there’s anything wrong with that.
  87. Director Oliver Schmitz's rhythms take a while to ease into, and admittedly, there is never a bright moment.
  88. Quale has brought this anemic franchise back to life, with an unexpected infusion of humor and energy.
  89. Well-acted and grounded in reality, Brick Lane is never overly emotional, even when it deals with the days after 9/11.
  90. It's hard to complain about a pop culture phenomenon built on unabashed innocence. And anyway, we might as well get used to it: Neither the movie nor the passionate tween squeals at a recent preview leave any doubt that "HSM 4" is on its way - or that the inevitable "College Musical" will be far behind.
  91. Sure, a lot of the dialogue is dopey, and the eternally stiff leads once again compete for blankest delivery. But Lin distracts us well, packing deftly-shot races, explosions, and getaways into every corner.
  92. Built on dry one-liners, off-kilter timing and self-conscious nostalgia, The Kings of Summer seems expressly designed to delight quirk-loving Sundance audiences.
  93. This well-made, elegant doc follows the British actress as she travels and discusses life, art, fashion, sex and death with various friends and collaborators, including novelist Paul Auster and photographer Peter Lindbergh.
  94. Enough Said doesn’t have the intimacy of Holofcener’s “Walking and Talking” or “Lovely & Amazing,” but it still cuts close the bone. Often so close we have to smile in self-defense.
  95. Burns has assembled such a fine cast that we leave feeling satisfied, as if we didn't get the iPad mini we wanted, but a pretty good novel instead.

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