New York Post's Scores

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For 8,343 reviews, this publication has graded:
  • 44% higher than the average critic
  • 2% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 8.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 Patriots Day
Lowest review score: 0 Zombie! vs. Mardi Gras
Score distribution:
  1. Positive: 4,334 out of 8343
  2. Mixed: 1,701 out of 8343
  3. Negative: 2,308 out of 8343
8343 movie reviews
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  1. Shit Year
    A protegé of Gus Van Sant, Archer -- who also makes short films and music videos -- has a wild imagination he has trouble harnessing. He doesn't know the meaning of "too much." But Barkin, in short, blond hair, is superb, as usual, and Aaron Platt's cinematography is stunning. Here's hoping Archer gets his s - - t together in feature No. 3.
  2. Mr. and Mrs. Iyer
    The central narrative is ultimately too one-dimensional to sustain interest.
  3. 36 vues du Pic Saint Loup
    If you want an introduction to the director's work, you're better off with "La Belle Noiseuse" (1991) and his masterpiece, "Celine and Julie Go Boating" (1974).
  4. The Return
    The minimalist style keeps the suspense warm. The movie is unusual among teen horror flicks in that it largely avoids the usual cheap thrills and bursts of scare music. Instead, it carefully repeats isolated images and sound bites until they take on a shivery power.
  5. Immortals
    If it's violence ye seek, and violently confused storytelling, look ye no further.
  6. The Forest
    Japan’s loony suicide culture seems like an adequately scary backdrop for a horror movie, but the routine horror flick The Forest mostly settles for cheap thrills.
  7. Black Nativity
    A family-friendly, Hallmark Channel-ready musical dramatic fable whose plot more closely resembles Spike Lee’s “Red Hook Summer.’’
  8. The Young Black Stallion
    A visual treat diminished by lifeless dialogue and self-conscious acting.
  9. The Safety of Objects
    Although deft editing provides neat segues, "Safety" suffers from a case of too many dramas, too little time. Characters are given no chance to develop and, too often, their behavior turns on a dime, hurtling off into a parallel universe of extreme acts.
  10. The Gatekeeper
    Frey's harrowing depiction of this milieu transcends the indifferent acting and contrived plot.
  11. Love at First Fight
    A sort of grown-up version of “Moonrise Kingdom,” France’s Love at First Fight has some youthful free-range charm but not nearly as much as its predecessor.
  12. Sicario: Day of the Soldado
    Without a humanizing element like Blunt’s character, this whole grim affair is just a race to the bottom in which everyone loses.
  13. 95 Miles to Go
    You've seen him be funny on TV for nothing, but you'll have to shell out $10.75 to see Ray Romano unwrap a Subway sandwich.
  14. Little Women
    First-time feature director Clare Niederpruem gives it her very earnest all, but falls short both on continuity issues (a smoldering curling iron, for example, is dropped to the floor and immediately forgotten) and on making her gradually aging cast match up.
  15. The Christmas Candle
    Ultimately, this throwback, made-for-TV-style film takes the easy way out in a cheesy climax, but its resolute quaintness may appeal to the kind of viewers who regard electricity as disturbingly newfangled.
  16. Homefront
    Despite being named “Gator Bodine,” Franco seems like something Statham would scrape off his boots. Put it this way: Franco needs a baseball bat to be intimidating; Statham just needs to be Statham.
  17. The X Files: I Want to Believe
    Atmospheric and moves briskly, but it's basically TV writ large.
  18. The Inheritance
    The Inheritance has a promising start but soon becomes preachy and melodramatic.
  19. Peter and Vandy
    You know a low-budget indie has problems when it's less emotionally honest than a studio-backed project like "(500) Days."
  20. Eva Hesse
    Blair has a colorless, weirdly teenage delivery that doesn’t convey Hesse’s vivid, brilliant personality. It is odd to watch a documentary where the subject becomes more interesting when she is discussed by other people.
  21. After.Life
    I don't think we're expected to take After.Life any more seriously than Ricci's last extended (near) nude role in the immortal "Black Snake Moan." That one was more fun.
  22. Life, Translated
    A sweet comedy with a bright cast and few surprises, the film did well in China, where it was aimed at teenagers. Since Hilary Duff isn't in the cast, its success probably won't cross over to America.
  23. Paper Towns
    “Risky Business” it’s not, and Delevingne is no Rebecca De Mornay.
  24. Last Vegas
    The film at least achieves the level of mediocrity thanks to the professionalism of two slightly younger participants — Kline and Mary Steenburgen, who also have Oscars on their mantels but go well beyond phoning it in here.
  25. District 9
    The movie falls into the same uneasy category as "Eight Legged Freaks": too tongue-in-cheek to be thrilling, not funny enough to be a comedy.
  26. Brown Sugar
    Represents a kind of progress. Where once only a few ultra-talented, lucky black filmmakers got to make big studio movies, now we have standard-issue Hollywood schlock that happens to be made by, about and for African-Americans.
  27. Lucky Stiff
    Overall, the insubstantial Lucky Stiff feels like community theater with an extravagant budget.
  28. Hearts in Atlantis
    A fussy piece of schmaltz that makes you long for "Stand By Me," a vastly superior coming-of-age tale from King's pen.
  29. The Guilt Trip
    It's a one-joke movie, if "Jewish mothers are annoying" is a joke. But just as a film about boredom should not actually be boring, no movie should credibly simulate the experience of being stuck in a car with Barbra Streisand for eight days.
  30. Dark Tourist
    Director Suri Krishnamma capably depicts the darkness in Jim’s head with his shadowy surroundings, misanthropic inner monologue and increasingly frequent hallucinations, and Griffith’s vulnerable performance is a standout. But the film’s final third seems needlessly graphic.
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