New York Post's Scores

  • Movies
  • TV
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:
8343 movie reviews
  1. Misconceived, bloated and incredibly ugly fantasy epic.
  2. The clichéd, heavy-handed script lets them down.
  3. Charming and mouthwatering.
  4. Sally Hawkins is the heart and soul of Made in Dagenham, but another actress to watch for is the equally wonderful Rosamund Pike. She steals every scene she's in as the sympathetic wife of Rita's sexist boss (Rupert Graves).
  5. I didn't buy how The Next Three Days plays out - but I almost bought it, and that's good enough for a thriller.
  6. Compelling documentary.
  7. None of its characters is especially interesting.
  8. Now it can be told. The erotic film "Emmanuelle" helped end the Cold War. That's one tasty tidbit from Disco and Atomic War, a subversively funny documentary.
  9. It includes more than a few clever lines, and boasts a stellar cast, including the underutilized Diane Keaton.
  10. A powerful, decades-spanning epic about that country's fight for independence centering on three brothers.
  11. If all terrorists were like these idiots, the US would have nothing to worry about.
  12. Balibar's dreamy voice (I'm reminded of Billie Holiday) is complemented by Costa's hypnotic camera work. The result is a visual and aural delight.
  13. Under writer-producer-director-editor Patrick Hughes, the suspense level is high and the action constant.
  14. Fair Game stars three imposing performers -- Naomi Watts, Sean Penn and Sean Penn's lavish and intemperate hair, a fuming gusher of crazy-ass Sweeney Todd locks that dominates every scene. I couldn't tear my eyes from it, maybe because I couldn't maintain focus on anything else in this histrionic and shamelessly misleading wonk-work.
  15. Let us return to reality (all this happened less than three years ago; do documentarians think we don't read the papers?).
  16. Like all great movies, 127 Hours takes us on a memorable journey. Which is not easy when 90 percent of the movie takes place with a virtually immobile hero in a very cramped setting.
  17. "Precious" worked partly because it did not wrap its sordid tale in Christian uplift and dime-store psychology -- elements that have made Tyler Perry a rich filmmaker but have turned For Colored Girls shrill and manipulative.
  18. Maybe being able to look back in time is comforting for Block and company, but what makes him think complete strangers give a damn about his not-especially-interesting family? I certainly don't.
  19. An eccentric little comic thriller filled with enough laughs that I was mostly willing to overlook the fact that it makes virtually no sense as a thriller.
  20. So bad it's almost (but not quite) good, Dan Ireland's Jolene is an unusually elaborate and excruciatingly long vanity production based on a short story by E.L. Doctorow ("Ragtime").
  21. If Swedish villains are this dumb, put me on the next plane to Stockholm. Just don't make me watch these idiotic movies on the flight.
  22. An unconventional movie that requires an unconventional mindset to appreciate.
  23. Douglas Langway's middling comedy is sort of a "Sex and the City" for big, hirsute gay guys and the younger cubs who fancy them.
  24. There's certainly a good movie to be made about Muslim punk musicians in the US, but this isn't it.
  25. See his movie now, brag about your discerning taste for undiscovered talent later.
  26. There isn't enough plot in this amateurish mope-athon to fill up a half-hour TV show.
  27. A 2010 movie that could have been made in 1940.
  28. Milks the very real problem of "organ tourism" for all the melodrama and car chases it's worth.
  29. Really belongs on Lifetime rather than in theaters.
  30. When an 80-year-old director turns his attention to death, you hope for some insight, or gravitas, or even whimsy or anger. Hereafter has none of that.

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