New York Post's Scores
- Movies
- TV
For 8,343 reviews, this publication has graded:
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44% higher than the average critic
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2% same as the average critic
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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: | Patriots Day | |
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| Lowest review score: | Zombie! vs. Mardi Gras |
Score distribution:
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Positive: 4,334 out of 8343
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Mixed: 1,701 out of 8343
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Negative: 2,308 out of 8343
8343
movie
reviews
- By Date
- By Critic Score
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- New York Post
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Reviewed by
Jonathan Foreman
It isn't particularly subtle or original. But it's a good-natured late-summer romp fueled by Lawrence's manic shtick.- New York Post
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Reviewed by
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An irresistible documentary tribute that's as yummy and insubstantial as a sackful of Twinkies.- New York Post
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- New York Post
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Reviewed by
Jonathan Foreman
A crude, manic and embarrassingly unfunny satire that feels off from beginning to end.- New York Post
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Reviewed by
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Reviewed by
Jonathan Foreman
An embarrassing misfire...feels like a long, slow TV pilot about L.A. twentysomethings, only it lacks the polish and wit of your average sitcom.- New York Post
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Reviewed by
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- Critic Score
A flat-out masterpiece, surely the best movie of the year; indeed, an all-time classic.- New York Post
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Reviewed by
Jonathan Foreman
A slow, self-consciously low-key, very dull film that strains for eeriness with long silences and affectless performances.- New York Post
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That insinuating, sublime atmosphere is consistently being intruded upon by the distractingly silly plot.- New York Post
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- Critic Score
A lame TV sitcom with big-screen ambition that's almost touching in its hopelessness.- New York Post
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Reviewed by
Jonathan Foreman
A remarkable accomplishment. It takes one of the century's vast tragedies...and makes it heart-rendingly real and intimate.- New York Post
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Reviewed by
Jonathan Foreman
A cast almost talented enough to distract you from Ted Griffin's gimmicky screenplay.- New York Post
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(Kusturica) celebrates its gaudy humanity in a joyous picture that is his most lighthearted and amusing work to date.- New York Post
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- New York Post
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- Critic Score
Presumably Zane & Co. had a lot more fun filming this inexplicable low-budget indulgence than any sane person will have watching it.- New York Post
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Reviewed by
Jonathan Foreman
A surprisingly nasty fable about a particularly silly, very English brand of animal-rights extremism.- New York Post
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Reviewed by
Jonathan Foreman
Peter Farrelly is angry at Miramax for marketing his and his brother Bobby's new film as a follow-up to their surprise smash hit, "There's Something About Mary."- New York Post
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- New York Post
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Reviewed by
Jonathan Foreman
A deeply pleasurable, old-fashioned blood-'n'-guts adventure film.- New York Post
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A film that parents can confidently and with pleasure take their little ones to see - but which is not quite a good movie.- New York Post
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Reviewed by
Jonathan Foreman
Could have been written by a computer programmed to cannibalize previous sci-fi films.- New York Post
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Begins so briskly and promisingly to stumble aimlessly and flat-footedly to a surprise finale.- New York Post
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- New York Post
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Reviewed by
Hannah Brown
A kindler, gentler comedy that's perfect for children and parents to see together.- New York Post
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Reviewed by
Jonathan Foreman
Slow and predictable, and the characters are so poorly written that its hard to react to them in any way.- New York Post
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Reviewed by
Jonathan Foreman
An ugly, failed attempt to pull off a "Heathers"-style, teen-oriented black comedy.- New York Post
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An enjoyable minor-league lark. But another "Notting Hill?" Fuhgeddaboutit.- New York Post
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- Critic Score
The Return is about bullets, bombs and boobs - the biggest boob being Van Damme, natch, but there are also mammaries aplenty.- New York Post
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Reviewed by
Jonathan Foreman
Bowfinger's terrific set-pieces... more than make up for the odd weak moment or thin performance.- New York Post
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Reviewed by
Jonathan Foreman
Better Than Chocolate is well-filmed and for the most part well-acted. But its technical professionalism only serves to make the amateurishly crude patches of Maggie Thompson's script more obvious. [13 Aug 1999, p.062]- New York Post
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