New York Post's Scores

  • Movies
  • TV
For 8,354 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:
8354 movie reviews
  1. If Young ever converses with the gentlemen from al Qaeda, I expect his comments to be along the lines of "Please don't cut my head off."
  2. Engrossing and exhilarating documentary.
  3. There is also a fair amount of boy-on-boy sex, which would be the main reason for seeing No Regret, no matter what your sexual orientation might be.
  4. Moves in a predictable path that includes some remarkable coincidences.
  5. The highest praise I can give a superhero movie is that it makes me forget about its 10-cent-comic-book soul.
  6. An exuberant if not always brilliantly crafted adaptation of the campy ABBA musical.
  7. I went in expecting to be disappointed, but even so, I was disappointed.
  8. A good cast and disciplined direction add some distinction to Ric Roman Waugh's Felon, which is basically the old tale about an innocent man corrupted by a stay in prison.
  9. Your enjoyment will hinge entirely on whether you think the album is a masterpiece or a bore.
  10. Doesn't always make sense, and you cannot always tell what is real and what is imaginary, but viewers will be having too much zonked-out fun to care.
  11. A woefully earnest indie about a crime and its aftermath.
  12. Brad Anderson's Transsiberian is a genuine sleeper that jump-starts an almost extinct genre.
  13. Despite all of the hideous critters Hellboy encounters, there is a hint that things are considerably weirder elsewhere.
  14. The most entertaining 3-D movie I've ever seen.
  15. Murphy has fallen back into the comfortable rut of sloppy family comedies that are low on laughs and high on toilet jokes.
  16. The 66-year-old African-American, the subject of the inspiring documentary A Man Named Pearl, doesn't have scissors where his hands should be, but he turns trees and bushes into topiary sculptures every bit as amazing as the ones Johnny Depp's character crafts in the Tim Burton film.
  17. A lesson in the perils of trying to cram a hefty Canadian novel that spans decades into a movie running just under two hours.
  18. As usual, Hartnett exhibits the acting ability of linoleum; his performance would not be measurably changed if he lapsed into a coma halfway through. Only an amusing cameo by David Bowie enlivens things, but he's onscreen for just about two minutes at the end.
  19. Has little to offer beyond titillation and pretty landscapes.
  20. A slow ride to nowhere.
  21. A genuine oddity that's more watchable than it sounds.
  22. The ingredients are there for a cute con game, but instead the movie turns out to be a mushy melodrama.
  23. It is up to each viewer to decide if the Mojave project is a stroke of genius or a very expensive boondoggle.
  24. It may be impossible to make an uninteresting documentary about Hunter S. Thompson, but is it unfair to ask Gonzo for more Hunter and less Jimmy Carter?
  25. The smart indie comedy Diminished Capacity deals with three kinds of dementia: those relating to aging, concussions and being a Chicago Cubs fan. Tying those three things together is a task that the witty script does with surprising adroitness.
  26. Strange and quirky.
  27. Nostalgic for those bad old days, The Wackness was shot at a time when it actually looked like "America's Mayor" was going to be in a position to perform a similar cleanup on the entire country. That, of course, turned out to be a pipe dream.
    • New York Post
  28. This movie fails so spectacularly - and on so many levels - that it's like watching a train plummet off a bridge.
  29. The story becomes so convoluted and contrived that much of the tension dissipates.
  30. Much of Finding Amanda doesn't stand up to close scrutiny, but at its best the still-boyish Broderick suggests his most famous character, Ferris Bueller, going through a midlife crisis.

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