New York Post's Scores

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For 8,355 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:
  1. Positive: 4,342 out of 8355
  2. Mixed: 1,703 out of 8355
  3. Negative: 2,310 out of 8355
8355 movie reviews
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  1. Better Luck Tomorrow
    Bracing and stylish thriller.
  2. Ghosts of the Abyss
    An enthralling 3-D IMAX documentary.
  3. House of 1000 Corpses
    Kicks off as a cheap piece of retro schlock and quickly devolves into a putrid bloodbath with a thin narrative made utterly indecipherable by the first-time director's clueless approach to filmmaking.
  4. DysFunktional Family
    For a movie that's trumpeted as providing a probing look beyond the comic's onstage patter, there's an awful lot of onstage patter -- and what nasty, hateful stuff it is.
  5. Levity
    First-time director Ed Solomon has corralled a stellar cast for his indie drama Levity -- and then put them through paces as plodding as a draft horse's.
  6. Manna from Heaven
    Hokey, overstuffed plot and a messily hand-stitched, often illogical script.
  7. The Man Without a Past
    Brilliantly idiosyncratic.
  8. What a Girl Wants
    Harmless, fish-out-of-water fluff.
  9. Phone Booth
    A tabloidy, nail-biting thriller.
  10. A Man Apart
    Violent and unoriginal actioner.
  11. The Good Thief
    So smooth and satisfying it makes the similar "Ocean's Eleven" look like a game of three-card monte.
  12. Cet amour-là
    The screenplay also fails to put the unconventional relationship into context. It never lets on that Andrea helped Duras produce some of her best work, including the autobiographical "The Lovers."
  13. Fellini: I'm a Born Liar
    The newly found footage of Fellini and actor Marcello Mastroianni on the set of "La Dolce Vita" made me want to run out and see that wonderful film yet again.
  14. The Core
    No one's going to confuse The Core with art -- or even a good film -- but it's 25 minutes longer than "The Hours" and I had at least 25 times as much fun.
  15. Raising Victor Vargas
    A love letter to a New York neighborhood that is rapidly disappearing -- a tight-knit Dominican community.
  16. Stevie
    Overly long and uncomfortably intrusive, but never less than compelling.
  17. Assassination Tango
    The most interesting parts of the movie are the long, sexy and well-staged dance sequences, some of them involving a very nimble Duvall.
  18. Basic
    Chases its tail for so long, it morphs from a whodunit into a who-cares.
  19. Head of State
    The sloppily shot, crudely edited Head of State fails as satire, for starters, because of its utter disconnect from any kind of reality.
  20. Unknown Pleasures
    A stunning study of ennui.
  21. Gaudi Afternoon
    Beautifully photographed and fitfully amusing, Gaudi Afternoon would be an impressive film from a first-timer, but Seidelman is experienced enough to know she should have told the actors not to camp things up so excessively.
  22. View from the Top
    Co-star Christina Applegate, who's much more at home in this down and dirty milieu, wipes the floor (in one scene, literally, in a ludicrous cat fight) with the erstwhile Oscar winner.
  23. Dreamcatcher
    Dreamcatcher is a lark probably best enjoyed by 12-year-olds -- or anyone still able to get in touch with their inner 12-year-old.
  24. Chuen jik sat sau
    The story won't win any prizes for coherence, but that doesn't much matter. As in most Hong Kong thrillers, it's the visuals - love those boldly choreographed shootouts! -- and moments of absurdity that count.
  25. Boat Trip
    Fairly cringe-inducing, full of witless double-entendres and the requisite "gags" involving bodily fluids.
  26. Piglet's Big Movie
    When the world gets too big and scary, the Hundred Acre Wood remains a clearly delineated comfort zone.
  27. One Swallow Brought Spring
    Carion, in his feature debut, means well, and his characters are lovable. But the plot is so predictable and sentimental that viewers are likely to lose interest before Sandrine and her goats walk off into the sunset.
  28. Down and Out with the Dolls
    The trouble with authenticity in a punk rock film is that it comes off as amateurish, and while "Dolls" has a feverish energy -- and some good songs -- it suffers from crude performances and a trite rise-and-fall plot.
  29. Japan
    Doesn't have the crossover appeal of the Mexican sexcapade "Y Tu Mama Tambien," but it does herald the arrival of an audacious young filmmaker. We can't wait to see what he does next.
  30. Willard
    Morgan never reaches the heights the film probably would have hit if had been directed by Tim Burton, whose style is frequently evoked -- especially Shirley Walker's playful score, which seems channeled directly from Burton's frequent collaborator Danny Elfman.
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