New York Post's Scores

  • Movies
  • TV
For 8,344 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 8.3 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:
8344 movie reviews
  1. The frantic nuttiness of the stylistically dynamic Huckabees is often laugh-out-loud funny, but amid the pandemonium there's a sense of truly rigorous soul-searching.
  2. A witty, well-acted, visually gorgeous ensemble drama.
  3. Pigeon, in its deadpan, hyper-composed way, is often paralyzingly funny, and there is compassion for the gray-faced souls wandering through it.
  4. Isn't great. But I had fun watching.
    • New York Post
  5. Seventy percent of black boys in Baltimore do not graduate from high school. They're more likely to land in jail -- or a cemetery. But there is hope, according to The Boys of Baraka, an uplifting documentary.
  6. Good value for the money, a funny, character-driven action comedy with three disparate stars -- who have great chemistry together.
  7. The result is a remarkably beguiling documentary, on a number of levels.
  8. Omar eventually becomes a sun-scorched neo-noir — and the fade-out is an unforgettable jolter.
  9. A loving tribute to cinema by Tsai Ming-liang, one of Taiwan's most accomplished and popular directors.
  10. Full of action and silliness that will delight rug rats, but it's still hip and absurd enough to entertain grown-ups, too.
  11. There is enough detail and psychological nuance in Mattson Tomlin’s clever script to make Project Power more intriguing than most of what Marvel and DC have to offer, even if it could barely match their catering budgets.
  12. Some of the acting feels cardboard; the plot points are never shocking. Eastwood’s love interest is about four decades his junior. And yet, the director casts a Zen cowboy spell that makes it all sort of irresistible.
  13. Making elegant use of the austere landscape and the rugged features of star Jérémie Renier, the film shows how these doggedly practical and nonspiritual men cope with the eerie events, the cause of which is hinted at but never fully explained.
  14. May serve as a useful way to introduce teens to what World War II in Europe was like.
  15. Wong extracts magnetic performances from his two stars, and Philippe Le Sourd delivers gorgeous cinematography.
  16. Solomonoff draws out vivid performances by Valeria Bertuccelli (Elena) and Ingrid Rubio (Natalia) that make up for the script's predictability.
  17. Culkin is superb - he makes you forget that Igby is a spoiled brat who actually deserves the beating he gets.
  18. Shannon is wonderful as a woman pushed over the edge by the death of her pet in Year of the Dog, a very low-key, well-acted dramedy.
  19. How can a movie with such a charming cast (let's not forget Ry Russo-Young as Hannah's female roommate) and believable dialogue (seemingly taken from the actors' real lives) go wrong? It can't.
  20. Magaly Solier is compelling as the teen. She has little to say, as the camera remains fixated on her expressionless face.
  21. Tautly directed by Kiefer’s longtime “24’’ helmer Jon Cassar, Forsaken greatly benefits from the poignant teaming of its father-and-son stars — as well as Michael Wincott as an especially elegant and eloquent gunfighter who has great respect for John.
  22. Hanks is terrific giving his first flat-out comic performance in years as a wildly eccentric criminal mastermind.
  23. Italian director Luca Guadagnino draws terrific performances from his four stars.
  24. A cheerfully crude, well-cast (and frequently uproarious) campus comedy in the tradition of "There's Something About Mary."
  25. The cryptic finale raises more questions than it solves. But She's One of Us is such a fine work that answers aren't necessary.
  26. Poetry, which rightfully won the best-screenplay prize at Cannes, never resorts to exploitation. Under Lee's guidence, it is a mature film for mature audiences.
  27. The result is an absorbing look at a country still struggling to adjust more than a decade after the fall of communism.
  28. A thoughtfully conceived and tastefully executed tribute to a venerated author.
  29. This material cries out for big-budget treatment by a real master like Paul Thomas Anderson or Martin Scorsese.
  30. Kinnear brings heart and nuance to a character in the terrible position of being asked to evict the mother of his son’s best friend. It’s a no-win situation in which no one is the bad guy — a gentle, intelligent oasis in this summer of heated name-calling.

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