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. It's truly inspiring to watch Fred Knittle, 81 and tethered to an oxygen tank, perform a riveting solo of Coldplay's "Fix You" after his singing partner dies shortly before the show.
  2. Fans of Hou know just what to expect from his slow, contemplative films - and they won't be disappointed.
  3. There's enough material here for a miniseries, but the directors keep the proceedings to 78 brisk minutes without making the viewer feel cheated.
  4. Far from a touchdown, but you gotta give points to any movie where a character describes its climactic game as a "muddy snoozefest."
  5. The biggest problem is Wong's decision to cast Norah Jones as Elizabeth, a New Yorker who hits the road after a love affair goes bad. Jones, in her first movie, can't act. (There, I said it!)
  6. Strictly for the 8-and-under crowd.
  7. The movie doesn't do anything with these viney bastards. There's no back story, no satire, no allegory, no implications beyond what's happening on the pyramid.
  8. This film is headed quickly for DVD. In the video store, though, it isn't funny enough to be shelved in the comedy section nor dirty enough to be filed with the smut. It might be useful in propping up a wobbly chair, though.
  9. Martin Scorsese's Rolling Stones "documentary" (i.e. concert film) is a first: the only Scorsese film that does not feature the Stones' "Gimme Shelter." Really. I think the Dalai Lama even hummed the guitar solo in "Kundun."
  10. Has enough material to supply an entire year of a soap opera - in Inner Mongolia, that is.
  11. Though Water Lilies endlessly teases the audience with its sapphic subtext and young female flesh, Sciamma seems most interested in showing how extremely cruel adolescent girls can be to each other.
  12. The plot contortions that very slowly unfold under Michael Radford's arthritic direction in Flawless are not much more entertaining.
  13. Suggestion: When making a film called Run Fat Boy Run, how about hiring a fat boy?
  14. 21
    A slick, shallow and thoroughly generic caper flick.
  15. This boring, torpid movie notices its own flaws and unwisely underlines them.
  16. Filmed largely in black and white, The Cool School includes interviews with one of the gallery's founders, Ed Kienholz, as well as with Dennis Hopper, Dean Stockwell and architect Frank Gehry.
  17. Intelligent, well-acted movie.
  18. Priceless provides lightweight, predictable entertainment that will make you yearn for the Tatou of yesteryear.
  19. As phony as a re-enactment with finger pup pets.
  20. Features a riveting performance by Michael Shannon as oldest son Son. He's definitely an actor to watch.
  21. The last time I saw this much talent in a losing cause was Super Bowl XLII. Trying to mix farce with heart, Drillbit Taylor is instead as soulful as Kenny G and as wacky as public television.
  22. Draggy and incoherent.
  23. Well, nobody said The Grand was another "Best in Show."
  24. The script depends heavily on familiar stand-up comedy bits, but it's full of sharp wisecracks and slacker charm.
  25. Chiara Mastroianni, whose mom, Catherine Deneuve, starred in Demy's "The Umbrellas of Cherbourg" (1964), appears here as Julie's sister. Vive la New Wave.
  26. Proves that what might be (but probably isn't) worth five minutes of your time while you're passing through the Times Square subway station really isn't worth a 1 1/2-hour movie.
  27. The demand for her services is so great that she suffers from "penis elbow," but her popularity also brings self-esteem and a possible boyfriend in her boss (Miki Manojlovic) in this lethargically directed comedy.
  28. Frequently charming, beautifully drawn and far more faithful in spirit to the source material than those dreadful Ron Howard-Brian Grazer productions.
  29. Flash Point comes loaded with cliches and immediately starts blasting them in every direction.
  30. A formula flick that should have tapped out in the script stage.

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