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 8.2 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. Abe
    The blend of coming-of-age and coming-together in director Fernando Grostein Andrade’s film is a poignant one, regardless. The lessons Abe learns about life through Chico and his inventive cooking are made all the more beautiful by how tasty and colorful the food looks. And with Schnapp’s work in the title role, I found myself believing that a 12-year-old Brooklyn boy just might be able to solve the world’s thorniest conflict with an appetizer.
  2. Endings, Beginnings
    This bore fest is nearly two hours of sizzle-less romance and thudding dialogue, centered around the sort of obnoxious free spirit who’d start up an unwanted conversation with you at a bar
  3. Lost Girls
    Garbus’ film is at its best when giving voice to the female relatives of these victims, who come together to pressure the cops — who’ve been instructed to downplay the possible connection between the killings — to do more.
  4. Big Time Adolescence
    Davidson expertly plays the role like he’s playing . . . well, Pete Davidson, which is how I imagine his career will go.
  5. The Hunt
    There simply aren’t enough synonyms for “loathsome” to do the new movie The Hunt justice. Perhaps if we expand into other languages. C’est détestable! È ripugnante!
  6. 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.
  7. Spenser Confidential
    Here’s some perfectly mindless couch viewing.
  8. Swallow
    Bennett, who’s been largely off the radar for a while, is heartbreaking and, eventually, fierce as her character begins to crave change.
  9. Onward
    The style and tone of writer-director Dan Scanlon’s movie has elements of DreamWorks’ “Shrek” and “How To Train Your Dragon” mixed with the siblings-with-secrets aspects of Disney’s “Frozen.” But Onward is better for the change-up. That stylistic and narrative departure gives us Pixar’s most heartfelt story in years.
  10. 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.
  11. Greed
    Coogan and Isla Fisher, as his friendly ex-wife, are well-cast, if too mean and fake. But their comic talents are wasted on Michael Winterbottom’s sorry attempt at a mockumentary. Actually, it’s a bit greedy.
  12. Wendy
    What a gift Zeitlin has with children. He showed that special skill with “Beasts,” but does even more so here, with the kid ensemble being full of personality and entirely unrestrained. The freedom and unbridled joy they find on the island are infectious, like their movie.
  13. The Invisible Man
    The idea of combining creature-feature invisibility with domestic-abuse gaslighting — playing with someone’s reality to make them think they’re going insane — is inspired. This middling horror film, regrettably, is not.
  14. Premature
    Premature doesn’t break much new ground. But it sure breaks hearts.
  15. The Call of the Wild
    You never believe Buck is the genuine article, so moments of danger and even cute mannerisms don’t land. Even the best-trained contestant at Westminster has some unpredictability.
  16. The Night Clerk
    Using autism as a plot device walks a fine line between empathetic and exploitative, and The Night Clerk is wobbly in that respect.
  17. Seberg
    The intriguing story behind Seberg and the always-interesting Kristen Stewart promised greatness. But this biopic squanders both; it’s a bland period piece with an irritating lack of focus.
  18. Emma.
    De Wilde has a good grasp of Austen’s sense of humor, and she plays it up with some amusing bits
  19. The Photograph
    Watching The Photograph is like looking through a friend’s old photo album — it’s not as exciting as your friend thinks it is.
  20. Buffaloed
    Thanks largely to the feisty Deutch, Buffaloed is a fun time, even if it’s about everybody’s least-favorite kind of phone call.
  21. Downhill
    On the whole, the pairing of these two comedy titans is forgettable and slow as an ice age. To put it in skiing parlance: Downhill is pizza-ing when it needs to french-fry.
  22. Sonic the Hedgehog
    If the title makes you wince, know the movie is a lot better than it deserves to be. You’ll actually care about what happens to the prickly blue dude, even if you never cared about getting to zone seven.
  23. Come to Daddy
    Wood, like fellow mega-franchise star Daniel Radcliffe, has found a comfy home in indie films. And he has the perfect presence for this one, in particular.
  24. Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn)
    Birds of Prey moves at a breakneck pace with a dry, totally unsentimental sense of humor, and it never gets caught up in cliched morals or weighty lessons.
  25. The Lodge
    Keough is riveting as the vulnerable Grace.
  26. The Assistant
    Never seen, but often heard bellowing profanities from the other end of Jane’s desktop landline, the boss and his eyebrow-raising closed door meetings dubbed “personals” provide the menacing undertone of this day-in-the-life drama.
    • 45 Metascore
    • 38 Critic Score
    The Rhythm Section
    Take away the shaky cam, the indie-film sheen, the “brave” close-ups of Lively looking wretched, and what’s left has all the depth of a 1970s B movie.
  28. Color Out of Space
    Color Out of Space is full-bore, glorious B-movie Cage: Cranked up to 11, spattered with gore and bellowing about alpacas.
  29. How to Train Your Dragon: The Hidden World
    The newest “Dragon” adventure, once again written and directed by Dean DeBlois, achieves real visual artistry.
  30. The Gentlemen
    But like he seems to do with every project these days, Grant runs away with the movie.
  31. The Last Full Measure
    Writer-director Todd Robinson is the victim of his own noble intentions, turning each and every moment into an ice bucket of sentiment.
  32. Bad Boys for Life
    The plot isn’t really, but who cares? Think of Bad Boys for Life as a Pennsylvania highway store: full of explosives and fun.
  33. Weathering with You
    Though most foreign films are best seen subtitled, the nonstop overexcitement of these anime performances can be exhausting. I’d have welcomed the dulcet tones of Pace, who voices Mr. Suga.
  34. Dolittle
    Heck, between this and “Cats,” maybe Universal is now just specializing in confounding talking-animal movies. At least this one leaves you feeling kindly toward other species, rather than freaked out by them.
  35. Les Misérables
    There is a strong emotional connection to Victor Hugo’s giant novel, which has been turned into a Broadway musical, movies and TV shows. This version remains a tale of downtrodden Parisians and dogged policemen who hound them. Only now we get 21st-century twists: teens with drone cameras, members of the Muslim Brotherhood and a Romani circus.
  36. Like a Boss
    Thankfully, director Miguel Arteta (“Beatriz at Dinner”) gets a solid half-hour of funny out of this thing before clunkiness sets in.
  37. The Grudge
    For connoisseurs of the “Grudge” series, the brief prelude of this fourth installation links it to the ones that came before. Everybody else, good luck making that connection.
  38. Clemency
    Clemency is remarkable for the understanding it affords to all involved with its wrenching subject matter.
  39. Cats
    Please wipe this movie from my “Memory.”
  40. Just Mercy
    Profoundly moving and, at times, almost unbearably sad.
  41. Star Wars: Episode IX - The Rise of Skywalker
    Although director J.J. Abrams tries his darndest to finish the job, conjuring up nostalgia like a TV medium, “Rise” doesn’t feel like the last chapter of the biggest American movie franchise. It’s just another well-made “Star Wars” flick.
  42. Richard Jewell
    Like most of Eastwood’s work (with the exception of last year’s disastrous “The 15:17 to Paris”), it’s a tightly paced feature, with strong performances all around. It’s also one of the season’s most politically polarized films.
  43. Jumanji: The Next Level
    The addition of Glover and Danny DeVito keeps Jumanji: The Next Level afloat, even with barely the whisper of a plot.
  44. Bombshell
    What Bombshell has going for it is a jaunty pace. The film by Jay Roach — the “Austin Powers” director who’s had rotten luck with dramas — clips along and is always watchable. But it misguidedly mimics other annoying, ripped-from-the-headlines movies, such as “The Big Short” and “Vice,” that rely on Elvis-impersonator acting, smug narration and quick cuts. Sometimes, you just want to see a tough topic taken seriously.
  45. Little Joe
    The audio design of Little Joe is meant to be unsettling, but it may be for naught if audiences can hardly bear to sit through it.
  46. Grand Isle
    Most damning of all, the dark mystery hinted at throughout is revealed so lazily it lands with zero impact. It’s long been clear that Cage has opted for quantity in his movie roles, but maybe a little quality control wouldn’t hurt.
  47. A Million Little Pieces
    “Pieces” becomes just like every other addiction film, relying on colorful addict characters and torture-porn scenes to arrive at a hopeful end.
  48. The Aeronauts
    For a film that takes place largely in a basket, Harper manages an epic mood. Nonetheless, you can’t help but feel swindled by Hollywood’s hot air.
  49. 1917
    1917 is a modern war classic and one of the best movies of the year.
  50. Knives Out
    The fun in Knives Out is watching an ensemble of super-serious actors getting to misbehave.
  51. Little Women
    This Little Women is two-odd hours of good cheer and lovely ensemble performances. It’s a warm fireplace hearth of a film, albeit one with a tendency to spit out fiery embers.
  52. Queen & Slim
    Matsoukas also finds two first-rate performances in Kaluuya and Turner-Smith. Theirs is one of the more carefully paced romances in recent memory, and the subtle way their tension switches from fear to desire is masterful.
  53. The Two Popes
    If nothing else, the mere sight of two popes drinking brews and watching a soccer game together is one of the more surreal things you’ll see at the movies this year.
  54. 21 Bridges
    One of the worst depictions of our city ever filmed.
  55. A Beautiful Day in the Neighborhood
    It’s the rare biopic that doesn’t wander into predictability.
  56. Ford v Ferrari
    If only director James Mangold had taken the route the Wachowskis did with “Speed Racer,” which had psychedelic colors to spice things up.
  57. The Good Liar
    A taut thriller, The Good Liar keeps you guessing ’til its explosive end. Director Bill Condon’s film is based on the novel by Nicholas Searle, and builds much in the same way a book does. You gotta get through the first 30 pages to become fully absorbed.
  58. Frozen II
    With Frozen II, Disney has done the impossible: It’s made a terrific animated-musical sequel.
  59. Charlie's Angels
    Scott and Balinska are capable, but bland. The actress who gets most in the oversize spirit of the occasion is Stewart, showing more personality and comic chops than she has before.
  60. The Report
    The Report, true to its no-nonsense name, does the admirable work of trying to interest viewers in the way that bureaucracy can be used to hide the most terrible truths. Alas, the movie gets as buried in paper-pushing as its characters do.
  61. Playing with Fire
    Director Andy Fickman (“Paul Blart: Mall Cop 2”) favors poop jokes and the cringe-humor of watching little kids court danger with a nail gun, kerosene, an ax and sometimes literally fire.
  62. Doctor Sleep
    The complex plot takes some time to get used to, especially if you’ve come to the theater expecting a story consistent with the simplicity of “The Shining.” If that was easy as pie, this is easy as Pi. But when it confidently hits its stride near the middle, Doctor Sleep is gripping.
  63. Last Christmas
    It’s a shame that George Michael’s final major artistic contribution to the world is the crummy movie Last Christmas. In its shoddy attempt to make a splash in the British romantic-comedy genre, it amounts to nothing more than a careless whisper.
  64. Honey Boy
    You’ll never look at Shia LaBeouf the same way after seeing Honey Boy, the affecting movie that’s inspired by his own life. If you run into him on the street, you’ll want to give the poor guy a hug.
  65. Marriage Story
    Don’t let its sweet title fool you: Director Noah Baumbach’s latest may just be the best war movie of the year.
  66. Primal
    There is a limit to the redemption Nicolas Cage can grant a terrible movie, and Primal is it.
  67. Harriet
    Though deeply well-intentioned, director Kasi Lemmons’ film never really breaks free of conventional biopic mode.
  68. Motherless Brooklyn
    Norton does a humanizing job of explaining Lionel’s unusual brain (he’s got a near-perfect memory) and defusing his outbursts with self-deprecation and humor.
  69. Girl on the Third Floor
    Gore and supernatural comeuppances ensue in a haunted-house flick that mostly eschews jump scares for more satisfying psychological and erotic twists.
  70. The Kill Team
    Skarsgård is dangerous as ever here, but writer-director Dan Krauss’ drama offers very little insight into the minds of these men, and we’re left with no satisfying takeaway. It’s just one upsetting scene after another.
  71. Terminator: Dark Fate
    As blissfully simple as James Cameron’s original “Terminator” framework was, “Dark Fate” has a tendency to toss in unnecessary confusions.
  72. Jojo Rabbit
    The reason Waititi’s films (yes, even “Thor: Ragnarok”) are so resonant is that they’ve always placed love and humanism at the heart of their humor. “Jojo,” despite going to some very dark places for its laughs, is no exception.
  73. The Lighthouse
    By turns funny, sinister, haunting, historically fascinating and mythical, The Lighthouse is one of the best films of the year.
  74. Zombieland: Double Tap
    Though the cast is a decade older, Zombieland: Double Tap is no less funny. Thanks to some new additions, it’s even more riotous.
  75. Maleficent: Mistress of Evil
    In “Mistress of Evil,” everything is a notch less fun, romantic and engaging.
  76. El Camino: A Breaking Bad Movie
    It’s fine, if not a little too long at two hours — but for “Breaking Bad” fans jonesing for something, anything, connected to the chronological timeframe of their beloved series, it should do the trick.
    • 38 Metascore
    • 50 Critic Score
    Gemini Man
    If you don’t think “All About Eve” was a documentary, you’ve never dated an actor. That classic show-business paranoia is the subtext that drives Gemini Man, an action flick with a twist.
  78. Little Monsters
    Director-writer Abe Forsythe (“Down Under”) nails a handful of funny juxtapositions, but too often leans into mean-spirited and tired yuks. As far as red flags for lameness go, fat-kid and pooping your pants jokes are, well, dead giveaways.
  79. The King
    Not so good is Lily-Rose Depp as French princess Catherine. Say what you will about francophile Johnny Depp — he’s never boring. But his daughter, with her vacant expression, lacks a certain je ne sais quoi.
  80. The Addams Family
    The voice work and the overly smooth animation mostly stink.
  81. Uncut Gems
    You’re not dreaming. Billy Madison, Mr. Deeds, Happy Gilmore, Robbie Hart and the guy that sang “The Hanukkah Song” is doing the finest work of his career in Uncut Gems, a new crime comedy co-written and directed by Joshua and Benny Safdie. Pigs have flown, for Sandler is brilliant.
  82. Dolemite Is My Name
    This comic biopic is a blast from start to finish.
  83. Pain and Glory
    [A] sublime drama, sprinkled with moments of lightness.
  84. Joker
    Joker starts grim and gets grimmer, as Arthur embraces his inner demons and finds they resonate with the huddled masses of Gotham.
  85. Lucy in the Sky
    Portman is always consummately watchable, and she tries her best to telegraph the utter existential confusion engulfing Lucy at work and in love. But the film around her is simply not up to her level.
  86. The Irishman
    Scorsese is at the top of his game here. His film is never boring, and it explores some unexpectedly deep themes for mafiosos.
  87. Sister Aimee
    It’s not without its quirks (and occasional pacing issues), but Sister Aimee is a true original — apparently, just like its namesake.
  88. The Laundromat
    Netflix needs to add a category for its new original film The Laundromat. Right under “Movies you might like” should be “Movies you will loathe.”
  89. Abominable
    It’s never too early to introduce your kids to the magic and emotion of the monster movie.
  90. Corporate Animals
    Moore, by the way, has never been a comic genius. The woman has played Hester Prynne — not the Laugh Factory. Still, she keeps giving the yuks the old college try. Here, the usually easeful actress cranks things up to Ludicrous Speed, and comes off like a drugged-up yogi.
  91. Zeroville
    It’s clear why this indie was shelved for so long: It’s a mess.
  92. Rambo: Last Blood
    Rambo: Last Blood features what’s easily the most violent movie scene of the year. It’s awesome.
  93. Running with the Devil
    In reality, it’s a tiresome parade of gory and sexist cliches that are, frankly, insulting to a cast that includes Laurence Fishburne, Barry Pepper, Adam Goldberg, Leslie Bibb and Clifton Collins Jr.
  94. Where's My Roy Cohn?
    Roy Cohn was way more entertaining than the new documentary about Roy Cohn.
  95. Ad Astra
    Director James Gray’s style harks back to classic space movies, such as “Alien” and “Star Trek II: The Wrath of Khan,” that played around with the vastness of the stars, and made it seem like there was nowhere lonelier. Ad Astra also has an old-school visual panache, with deep-colored, dramatic lighting that’s regrettably fallen out of fashion.
  96. The Goldfinch
    The Goldfinch should be called “CliffsNotes: The Movie,” because after seeing this pedantic film adaptation, I now know all 3 billion plot points of Donna Tartt’s acclaimed 2013 novel. And, like skimming a colorless cheat sheet, I still have no clue what’s so great about it.
  97. Judy
    No matter how well you know “Over the Rainbow,” you may never hear it as heartbreakingly performed as Zellweger sings it here.
  98. Downton Abbey
    Julian Fellowes would have been far better off writing another relaxed Christmas special to satisfy fans.
  99. It: Chapter Two
    A very fine follow-up to the most successful horror film ever.
  100. The Fanatic
    John Travolta’s new film is a lot like “Misery” — just without the acclaim.
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