New York Post's Scores

  • Movies
  • TV
For 7,431 reviews, this publication has graded:
  • 43% higher than the average critic
  • 2% same as the average critic
  • 55% lower than the average critic
On average, this publication grades 6.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Harry Potter and the Deathly Hallows: Part 2
Lowest review score: 0 Irrational Man
Score distribution:
7431 movie reviews
  1. I tried squinting. Didn’t work. I turned my head slightly to the side. Uh-uh. No matter what I tried, I could not, cannot and never will be able to see Ewan McGregor as Jesus Christ.
  2. Repeatedly shoots for laughs -- but ends up mostly firing blanks.
  3. Ron Howard's bio-pic is an Oscar-baiting fairy tale that manipulates the audience at every turn of the clich.
  4. The real unflinching truth is that an average newspaper reporter can do a more artful, compassionate job with a drug-war story than this movie does.
  5. Aside from the very occasional stab with a dagger, John prefers to shoot people at point-blank range. It gets old fast.
  6. Boasts exceptionally attractive locations, but its painfully amateurish plotting, dialogue and acting -- combined with slack pacing -- make this Beijing-set indie romance something of a trial.
  7. Christopher Plummer confronts Nazi horrors again in Atom Egoyan’s preposterous thriller, which squanders a terrific performance by the Oscar-winning actor.
  8. Has precious little to add to the canon -- and does so in a highly melodramatic manner.
  9. This maudlin, fact-inspired and anti-feminist dramedy is no "Far From Heaven" or "The Hours."
  10. Fine for fans? Sure. This stuff is crack for fans. Crack is really bad!
  11. This lame teenage James Bond will leave audiences neither shaken nor stirred.
  12. The movie is about a situation, not a story — there’s little narrative momentum — and as is often the case with movies about journalists, the mood of smug sanctimony becomes unbearable.
  13. Five minutes before The Golden Compass started, I was wondering when it was going to start. Forty minutes into it, I was wondering exactly the same thing.
  14. It's a simple-minded celebration of speed that pretends to be nothing else, even throwing in the occasional wink to acknowledge its own silliness.
  15. First-time feature director Jeff Preiss has a top-notch duo in John Hawkes, as the affable but troubled Joe, and Elle Fanning as his teen daughter, Amy, but neither can really get out from under the film’s heavy-handed tone, a one-note trip down a bleak memory lane.
  16. It's a worthy idea, but the uninspired scripts, acting and direction never rise above the level of an after-school TV special.
  17. There is also something surgically sterile. The movie sounds as though it was recorded in a padded chamber instead of a bustling school, and it looks like it came from some alternate world, one that basks in the eternal sunshine of the spotless skin.
  18. Snoozy and unconvincing.
  19. As a comedy, The Brothers Grimsby is weak and scattershot, but it’s useful as an unintended self-indictment of the chattering classes’ disgust and disdain for white working folk.
  20. So consistently silly and overwrought that it flirts with the elusive so-bad-it's-entertaining category.
  21. Grunting and boarlike, Gérard Depardieu supplies a one-note rendition of Dominique Strauss-Kahn in Abel Ferrara’s peculiarly unilluminating Welcome to New York.
  22. The origins story Dracula Untold is Dracula unbold — unoriginal, unimaginative and utterly non-unprecedented. This Vlad the Impaler has all the edge of Vlasic the pickle.
  23. This one is a “different kind of superhero movie,” meaning even more fiercely attached to the mode of artistic expression known as “puberty.”
  24. The Chaperone squanders nice locations and an expert comic performance by Yeardley Smith (the voice of Lisa Simpson) as the teacher trying to supervise the trip.
  25. Note to Greek chorus of execs: Turning a space psychodrama into a “He went to Jared” commercial is pretty low, even for you.
  26. I Saw the Light is as vital as a two-hour shrug.
  27. Shankman's staging of the numbers - especially the leaden choreography and hackneyed locations such as the Hollywood sign - was far sloppier and less creative than for his last musical, the vastly superior "Hairspray."
  28. Deadly dull.
  29. The material in this spy spoof is, pardon the pun, awfully frayed.
  30. This Canadian-South African labor of love has its heart in the right place, even if the leads seem to have been cast more for their hunky looks than their stiff acting.

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