New York Post's Scores

  • Movies
  • TV
For 7,441 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 Werckmeister Harmonies
Lowest review score: 0 Hector and the Search for Happiness
Score distribution:
7441 movie reviews
  1. A protegé of Gus Van Sant, Archer -- who also makes short films and music videos -- has a wild imagination he has trouble harnessing. He doesn't know the meaning of "too much." But Barkin, in short, blond hair, is superb, as usual, and Aaron Platt's cinematography is stunning. Here's hoping Archer gets his s - - t together in feature No. 3.
  2. The central narrative is ultimately too one-dimensional to sustain interest.
  3. If you want an introduction to the director's work, you're better off with "La Belle Noiseuse" (1991) and his masterpiece, "Celine and Julie Go Boating" (1974).
  4. The minimalist style keeps the suspense warm. The movie is unusual among teen horror flicks in that it largely avoids the usual cheap thrills and bursts of scare music. Instead, it carefully repeats isolated images and sound bites until they take on a shivery power.
  5. If it's violence ye seek, and violently confused storytelling, look ye no further.
  6. Japan’s loony suicide culture seems like an adequately scary backdrop for a horror movie, but the routine horror flick The Forest mostly settles for cheap thrills.
  7. A family-friendly, Hallmark Channel-ready musical dramatic fable whose plot more closely resembles Spike Lee’s “Red Hook Summer.’’
  8. A visual treat diminished by lifeless dialogue and self-conscious acting.
  9. Although deft editing provides neat segues, "Safety" suffers from a case of too many dramas, too little time. Characters are given no chance to develop and, too often, their behavior turns on a dime, hurtling off into a parallel universe of extreme acts.
  10. Frey's harrowing depiction of this milieu transcends the indifferent acting and contrived plot.
  11. A sort of grown-up version of “Moonrise Kingdom,” France’s Love at First Fight has some youthful free-range charm but not nearly as much as its predecessor.
  12. You've seen him be funny on TV for nothing, but you'll have to shell out $10.75 to see Ray Romano unwrap a Subway sandwich.
  13. Ultimately, this throwback, made-for-TV-style film takes the easy way out in a cheesy climax, but its resolute quaintness may appeal to the kind of viewers who regard electricity as disturbingly newfangled.
  14. Despite being named “Gator Bodine,” Franco seems like something Statham would scrape off his boots. Put it this way: Franco needs a baseball bat to be intimidating; Statham just needs to be Statham.
  15. Atmospheric and moves briskly, but it's basically TV writ large.
  16. The Inheritance has a promising start but soon becomes preachy and melodramatic.
  17. You know a low-budget indie has problems when it's less emotionally honest than a studio-backed project like "(500) Days."
  18. Blair has a colorless, weirdly teenage delivery that doesn’t convey Hesse’s vivid, brilliant personality. It is odd to watch a documentary where the subject becomes more interesting when she is discussed by other people.
  19. I don't think we're expected to take After.Life any more seriously than Ricci's last extended (near) nude role in the immortal "Black Snake Moan." That one was more fun.
  20. A sweet comedy with a bright cast and few surprises, the film did well in China, where it was aimed at teenagers. Since Hilary Duff isn't in the cast, its success probably won't cross over to America.
  21. “Risky Business” it’s not, and Delevingne is no Rebecca De Mornay.
  22. The film at least achieves the level of mediocrity thanks to the professionalism of two slightly younger participants — Kline and Mary Steenburgen, who also have Oscars on their mantels but go well beyond phoning it in here.
  23. The movie falls into the same uneasy category as "Eight Legged Freaks": too tongue-in-cheek to be thrilling, not funny enough to be a comedy.
  24. Represents a kind of progress. Where once only a few ultra-talented, lucky black filmmakers got to make big studio movies, now we have standard-issue Hollywood schlock that happens to be made by, about and for African-Americans.
  25. Overall, the insubstantial Lucky Stiff feels like community theater with an extravagant budget.
  26. A fussy piece of schmaltz that makes you long for "Stand By Me," a vastly superior coming-of-age tale from King's pen.
  27. It's a one-joke movie, if "Jewish mothers are annoying" is a joke. But just as a film about boredom should not actually be boring, no movie should credibly simulate the experience of being stuck in a car with Barbra Streisand for eight days.
  28. Director Suri Krishnamma capably depicts the darkness in Jim’s head with his shadowy surroundings, misanthropic inner monologue and increasingly frequent hallucinations, and Griffith’s vulnerable performance is a standout. But the film’s final third seems needlessly graphic.
  29. There are a few decent jolts in Disturbia, but overall this ultra-predictable thriller doesn't live up to the hype.
  30. Out of the Furnace is much longer on style and belligerence than actual substance.

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