Johnny Oleksinski

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New York Post
For 682 reviews, this critic has graded:
  • 46% higher than the average critic
  • 1% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 6.6 points lower than other critics. (0-100 point scale)

Johnny Oleksinski's Scores

  • Movies
  • TV
Average review score: 59
Highest review score: 100 Avatar: The Way of Water
Lowest review score: 0 Gotti
Score distribution:
  1. Positive: 365 out of 682
  2. Mixed: 125 out of 682
  3. Negative: 192 out of 682
682 movie reviews
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    • 66 Metascore
    • 88 Johnny Oleksinski
    Kingdom of the Planet of the Apes
    Directed with visual splendor by Wes Ball, the meaty film’s combo of flawless zoological effects (unlike this year’s inferior primate picture “Godzilla x Kong”), superbly crafted characters and a timeless story of emerging civilization and the fight for survival is remarkably riveting for what sets the groundwork of a whole new trilogy.
    • 66 Metascore
    • 75 Johnny Oleksinski
    The Way Back
    Here’s what’s smart about director Gavin O’Connor’s film: Although a lot of movies about addiction fixate on the agonizing and physically punishing withdrawal process, this one doesn’t.
    • 66 Metascore
    • 88 Johnny Oleksinski
    Mary Poppins Returns
    This “Poppins” sequel has an entirely new score, with exactly none of the cherished songs from the great Julie Andrews movie. Once you accept that, you can move on — and enjoy the countless other joys this follow-up has to offer. It will be a jolly-er holiday with Mary Poppins Returns.
    • 66 Metascore
    • 63 Johnny Oleksinski
    Downton Abbey: The Grand Finale
    Nostalgia is a prime factor, yes, but the story is legitimately engrossing this time, however recycled it may be, rather than a lazy stack of trumpeted entrances and exits and half-witty asides that marred the 2019 and 2022 films.
    • 65 Metascore
    • 75 Johnny Oleksinski
    Paddington In Peru
    You’d be hard-pressed not to enjoy the jolly jaunt. Clumsy Paddington, as always, makes an adorable mess of things.
    • 65 Metascore
    • 63 Johnny Oleksinski
    The End We Start From
    As well-worn as it may be, Comer reliably freshens up every project she touches and makes otherwise cold scenes sizzle.
    • 61 Metascore
    • 75 Johnny Oleksinski
    All the Bright Places
    Many modern teen issues are touched upon — depression, anxiety, eating disorders — and because of the honest performances from Smith and Fanning, you ache for them.
    • 43 Metascore
    • 38 Johnny Oleksinski
    Where the Crawdads Sing
    Providing a hint of redemption is Edgar-Jones, a naturally vulnerable actress who can turn the shallowest of material into something deep. We like Kya and are with her every step of the way, even though at over two hours there about 50 steps too many.
    • 65 Metascore
    • 25 Johnny Oleksinski
    Bill & Ted Face the Music
    This whole half-baked sequel is a forced exercise, willed into being by the so-called “Keanussance” — society’s renewed love affair with Reeves. He’s a nice guy and a decent actor, but he’s made a lame movie. It’ll let down even hardcore fans.
    • 65 Metascore
    • 75 Johnny Oleksinski
    Last Flag Flying
    The song that rolls at the end credits is Bob Dylan’s “Not Dark Yet.” It’s a perfect coda for Linklater’s movie — it mimics the steady pulse of “Flag”, its warmth and Doc’s cautious optimism in the face of personal tragedy.
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