New York Daily News' Scores

For 6,822 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 7.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Score distribution:
6822 movie reviews
  1. It’s not just “Impossible,” it’s irresistible.
  2. Director Stefano Sollima, who cut his teeth on Italian TV mob dramas, is good at building suspense. He fills the screen with striking images, too -- night-vision raids, heat-signature tracking, eye-in-the-sky surveillance.
  3. Admittedly, Travolta, who produced, is sure having fun. What ham wouldn’t? Chewing on the scenery like it was a meatball hero, he swaggers around in shiny suits and silver wigs, barking orders.
  4. The special effects remain startling, and in your face. But there's nothing new here, and what's old feels like less. The corporate villains seem to have wandered over from "Rampage." The humor has vanished.
  5. The wannabe thriller set in the near future packs gritty style and ambiance, but that’s no match when the story has no stakes and doesn’t add up.
  6. Both charmingly retro (dig that swingin’ score!) and confidently modern (girls run the world!) it’s a hip heist movie with a few laughs and some lovely fun.
  7. Right now, he's the perfect "Avengers" antidote.
  8. It’s smart, funny and bursting with ideas about the joys and rigors of motherhood and reckoning with the past and the future. It’s too bad, then, that the final head-scratching stretch sinks what’s preceded.
  9. The script is surprisingly smart, pulling together all the subplots and cutting among all the locations. Chris Pratt’s Star Lord has some clever lines. Thanos is a far more complex villain than we usually get. And the movie ends on a stark and shocking note.
  10. Franco’s rather flat narration doesn’t do justice to Crane’s verse, but he is a charismatic onscreen presence.
  11. Some movies are feasts. Some films are desserts. This picture is cheese in a can, and if it only accepted that, it would be a lot more fun — like “Alligator,” the tongue-in-cheek classic that had a toothy terror climbing out of a city sewer.
  12. Pike is terrific, and Hamm has a credibly bleary, weary look. The movie’s ambitions are worthy. But it rarely turns its action into real excitement, or moves past cynicism into insight. It’s the spy movie that leaves us in the cold.
  13. This may be a sci-fi fantasy about giant man-eating bugs, but it’s grounded in human facts and folly. Little here is safe. Nothing is predictable. It’s surprising how effectively the silence increases the scares, too.
  14. The movie is crammed with excitement and good humor.
  15. DeKnight shows he can pilot a CGI fight sequence as well as his predecessor, Guillermo Del Toro (“The Shape of Water”). These movies can be fun once the colossal foes start grappling. They’re even more fun with fewer explanations and more explosions. A movie about massive monster-fighting robots doesn’t need so much engineering.
  16. Too bad the new actress doesn’t bring much to the party, and this “origin story” feels like leftovers.
  17. Director Ava DuVernay’s version of the beloved children’s classic has a big cast and the best of intentions. It’s socially progressive, racially diverse and packed with positive messages. It’s just not much fun.
  18. But the real problem is that the picture feels padded. There are endless, and pointless, scenes of radio hosts debating the vigilante violence. And the wildly mismatched shoot-outs — every criminal Kersey goes up against is slow, stupid and a lousy shot — waters down the thrills.
  19. People who crave a movie about a secret agent with her own sexual agency — and a mission to give male predators exactly what they deserve — are going to want front-row seats. And a sequel.
  20. Your mileage may vary — along with patience. Despite all the talk of the Shimmer, Annihilation sputters.
  21. A lot of the jokes are surprising, and one gag...pays off terrifically. The two top stars are delightful, and a couple of cameos are nice surprises.
  22. Luckily the latest episode to arrive, dubbed Fifty Shades Freed, is also the last. And good thing, too, because by now we’ve definitely gone 100 shades too far.
  23. Grumpy T'Challa may be on the throne, but it’s the women who rule. And Michael B. Jordan adds fire as Killmonger.
  24. Battle sequences on horseback are executed perfectly for maximum pulse quickening. It helps to have a few good men — with apologies to Army vets disgusted with the Marine reference — cast in the supporting roles.
  25. As it speeds along, the film delivers its share of popcorn-style entertainment, curves and thrills. But it stalls due to plot holes and murky storytelling, willful inaccuracies (like an invented Upper East side train station), wasted talent and conductor’s cap tips to better railway-based movies like “Strangers on a Train,” “The Fugitive” and “Unstoppable.”
  26. Diane Kruger’s raw, real-as-it-gets performance as a grieving woman bent on vengeance in the German thriller In the Fade grabs from the get-go and never lets loose its grip.
  27. Compared to a really great poker game, sometimes “Molly’s” comes up a little short. It definitely keeps you too long at the table. And there are times — like every Sorkin script — where it won’t stop talking. Really, buddy, shut up and deal...But when the chips are down, its stars come through. And in the end, we all walk away winners.
  28. True, sometimes director Steven Spielberg lays it on so thick you think he has a trowel. Inspiring scenes are flooded with sunshine. John Williams’ score swells and kvells. (Of course, Spielberg didn’t become America's most popular director by being its subtlest.)
  29. Alas, a winning lead performance isn’t enough when it is at the center of a flawed movie. The Greatest Showman can only hoodwink for so long before the tent collapses. This is an enjoyable film, but its rags-to-riches tale in a sanitized 19th century is extremely by-the-numbers.
  30. Scott and Plummer may deserve a standing ovation for taking a powerful stand amid the #metoo movement. If only the rest of All the Money the World was as powerful.

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