New York Post's Scores

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For 8,352 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: 4,340 out of 8352
  2. Mixed: 1,702 out of 8352
  3. Negative: 2,310 out of 8352
8352 movie reviews
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  1. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
    Simultaneously funny and frightening, Stanley Kubrick’s 1964 satirical masterpiece. [25 Apr 2004, p.3]
    • New York Post
    • 60 Metascore
    • 75 Critic Score
    Midnight Lace
    An effective damsel-stalked-by-psycho horror tale, only more lush, as befitting any film produced by Ross Hunter. [15 Aug 1999, p.035]
    • New York Post
  3. Anatomy of a Murder
    A truly superb courtroom drama. [02 Jan 2008, p.35]
    • New York Post
  4. The Band Wagon
    Sorry, the beloved Singin’ in the Rain isn’t the finest of the legendary MGM musicals. For my money, it’s a close second to The Band Wagon, which has better music, better dances, better direction, more lavish sets and costumes and a wittier script (by the same writers).
    • 89 Metascore
    • 100 Critic Score
    White Heat
    In Raoul Walsh's potent portrayal of a criminal gang roving backroads America, Cagney permanently redefined psychopathic criminality in the movies. [22 May 2005, p.25]
    • New York Post
    • 91 Metascore
    • 100 Critic Score
    Bringing Up Baby
    Basically, Katharine Hepburn could do no wrong, and with Cary Grant, the ultimate screen actor, you've got an instant classic. Screwball comedy is one of the hardest to bring off, and director Howard Hawks realized that you have to play real to make it succeed. [12 July 1998, p.30]
    • New York Post
  7. Cavalcade
    Moving at a leisurely pace, Cavalacade is primarily of historical interest for everyone except Coward completists and hard-core Anglophiles.
  8. One Way Passage
    Classic shipboard romantic dramedy involving a condemned prisoner (William Powell) who hooks up with a dying woman (Kay Francis). Excellent support by Frank McHugh and Aline MacMahon as a pair of con artists. [31 Jan 2010, p.6]
    • New York Post
  9. Safe in Hell
    Safe in Hell doesn’t offer anything extraordinary in the way of skin or innuendo, but it’s chockablock with the kind of situations and characters that would be verboten on screen for nearly three decades commencing in mid-1934.
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