New York Post's Scores

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For 8,353 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 8353
  2. Mixed: 1,703 out of 8353
  3. Negative: 2,310 out of 8353
8353 movie reviews
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  1. The Outrun
    It is a phenomenal showcase for Ronan, who dares to be unlikable for the rare time in her career. Her natural charm and whimsy we’re used to from “Lady Bird” and “Little Women” is but a glimmer in Rona’s eye — and that little light is why the viewer roots for this troubled woman as hard as they do.
  2. Little Death
    The trouble here is the fizzling story. The viewer can’t help but feel the loss of Ross.
  3. My Old Ass
    Ninety percent of the movie is a very pleasant watch. All “My Old Ass” needed was a few more conversations with Elliott’s family and friends to provide more closure for her and the film.
  4. A Real Pain
    Impressive throughout is the way Eisenberg balances reverence for his locations and belly-grabbing comedy, while using those elements to support each other.
  5. Freaky Tales
    Even though you definitely don’t leave contemplating the narrative, the detailed and authentic ‘80s aesthetic conjures a spell.
  6. Rebel Moon Part 1: A Child of Fire
    While that winding, buzzword-filled title sounds like a cheap-o parody of a science-fiction epic, this is about as unfunny and unadventurous a movie as you could possibly imagine.
  7. The Iron Claw
    Watching “The Iron Claw” can feel like getting slammed with a metal folding chair over and over again. So bludgeoning are the true and tragic circumstances that befell the famous Von Erich wresting family during the 1980s and ’90s, which director Sean Durkin’s film depicts.
  8. Ferrari
    The film, admittedly, does not rev up as fast as a Ferrari. The director initially prefers a relaxed pace and almost sepia color scheme that make us unsure, sometimes in frustration, of what the vibe of the story is supposed to be.
  9. Aquaman And The Lost Kingdom
    The Lost Kingdom isn’t well done, but it isn’t miserable either.
  10. The Color Purple
    Another reason to embrace “Purple” is that the moving film is graced by a duo of exceptional performers in Barrino and Danielle Brooks as Sofia who, while singing, capture the electricity of being live onstage, and, while acting, take advantage of the raw intimacy of a close-up. Getting that combo right in movie musicals is rarer than you’d think.
  11. Chicken Run: Dawn of the Nugget
    The second “Chicken Run” grabs you by the giblets anyway, thanks to its terrific returning voice cast of big-personality Brits, such as bubbly Jane Horrocks and Imelda Staunton (who, in the 23 intervening years, has gone from the coop to Buckingham Palace), and earnestly funny writing. Netflix, to its credit, has not laid an egg.
  12. Poor Things
    This freaky fairy-tale world is really a playground for Stone, whose willingness to be foolish and risky is a breath of fresh air amid all the polite Oscar-bait turns we’re handed this time of year.
  13. Wonka
    Absent of any edge or layered characters, Wonka is at its most enjoyable when you forget the novel and classic Gene Wilder film and strap in for routine pleasantness.
  14. Wish
    In “Pinocchio,” when Geppetto wished upon a star, a hunk of wood became a real boy. Eighty-three years later, Disney’s latest animated film, called “Wish,” which is sort of about the origin of that same magical ball of gas, couldn’t be more wooden, manufactured or lifeless.
  15. Saltburn
    Saltburn has a brain, no doubt about it, but it also has a script that’s written in jet fuel.
  16. The Hunger Games: The Ballad of Songbirds and Snakes
    Despite the lacking wrap-up, “Ballad of Songbirds and Snakes” is, like most of the “Hunger Games” films, a well-made dystopian yarn that’s better acted than it needs to be.
  17. Napoleon
    It’s too bad Scott could not deliver a brilliant character study of one of the world’s great military leaders — and instead settled for letting a self-indulgent Phoenix fly over the cuckoo’s nest.
  18. The Marvels
    In order: bland, annoying and misused.
  19. What Happens Later
    A lot of this is typical rom-com fare. The genre is not boundary-pushing and that’s perfectly fine — ideal even. But Ryan doesn’t have the sparkle and fizz as a director to make this lacking material sing.
  20. Killers of the Flower Moon
    Good old reliable Marty pulls it off again, addictively unraveling a tale that’s almost too terrible to be true with panache, gusto and just the right amount of cultural respect.
  21. Priscilla
    Coppola’s movie is packed with many similarly smart, but never egotistical storytelling decisions and is easily one of the finest films of her career.
  22. Maestro
    Nothing Cooper does is organic or authentic, and his show-off performance is always stilted. He arduously thinks through every single choice — it’s time to scream into a pillow; cue the laugh; ready, set, cry. Nobody goes to a movie to watch actors ponder their next beat. We want to feel, and his overwrought turn does not allow us to.
  23. The Exorcist: Believer
    Their heads spun 360 degrees. They vomited up green sludge. They violently shouted curse words...No, not the demonically possessed girls in “The Exorcist: Believer” — the awful movie’s furious audience.
  24. A Haunting in Venice
    While “Murder On The Orient Express” and “Death On The Nile” were hack-job excuses to force as many disparate and ghastly celebrities onscreen as possible, “Haunting” is an actual, surefooted film with strong performances and a luxurious-yet-frightful tone.
  25. The Royal Hotel
    The director (whose “The Assistant” was solid, but this is far better) has built a gripping thriller around the sort of off-hand remarks, boozy outbursts and inappropriate behavior that most bartenders and reasonable patrons encounter all the time. Everywhere.
  26. The Holdovers
    There are a couple plot threads I found weird — particularly in the final push — that don’t land as powerfully as they intend to. But the resolution is immensely satisfying regardless of a few blips. It’s Payne’s finest work in years.
  27. The End We Start From
    As well-worn as it may be, Comer reliably freshens up every project she touches and makes otherwise cold scenes sizzle.
  28. Dicks: The Musical
    Having written this script for themselves, Sharp and Jackson are a scream. Imagine if a vodka Redbull transformed into two human beings — that’s who they are.
  29. Dumb Money
    Dumb Money, with a predictable script by Lauren Schuker Blum, Rebecca Angelo and Ben Mezrich, rambles on and on with an unwaveringly lethargic tone and zero buildup of energy or anticipation. All the while, the audience has little investment in this dud about investing.
  30. One Life
    When a movie wades into the vast pool of World War II and Holocaust titles, the viewer expects a splash. One Life is, at best, a spritz. It delivers a lot of what we’ve already seen before, but on a less-than-cinematic scale. Yet spending some time with Hopkins and exploring a speck of light in one of the world’s darkest chapters is just satisfying enough.
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