New York Post's Scores

  • Movies
  • TV
For 6,902 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 6.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Russian Dolls
Lowest review score: 0 Alone in the Dark
Score distribution:
6,902 movie reviews
  1. Filmed on abstract sets, it’s full of playful touches, such as lines delivered in front of a screen that looks like a comic-strip panel, and glimpses of a mole puppet popping out from a fake lawn.
  2. A decent football movie, just about good enough to be the 40th best episode of "Friday Night Lights" . . . which has aired 39 episodes.
  3. Roughly a more broadly comic French version of John Favreau’s “Chef,’’ this film stars veteran Jean Reno as a longtime celebrity chef who may lose control of his Paris restaurant because the young new CEO thinks he’s old toque.
  4. The best thing about the film – which is true of most of his roles – is Rockwell.
  5. It remains for a tougher documentary to more forcefully trace exactly who benefits from this shameful practice -- multinational corporations and consumers who don't ask enough questions.
  6. A major disappointment, The Cider House Rules pales by comparison with the gutsier, more full-bodied adaptation of Irving's "The World According to Garp."
    • New York Post
  7. This is one horror film that could make the syllabus at Bob Jones U. The way the squid blasts its tentacles into doe-eyed girls seems designed to steer your daughters away from sex until they're about 40.
  8. Seems afraid to cut loose in the manner of Robert Altman or Paul Thomas Anderson, so this labor of love suffers from an overly earnest and morose tone. Which, given the cast in Thirteen Conversations, is a real shame.
  9. Kline's divine -- alas, the film isn't.
  10. Funny and promising as the first act is, the entire second act is pretty awful, as the script chucks in one tiresome, unlikely gag after another.
  11. Adoration, which hinges on a number of coincidences, contains some really fine performances.
  12. Surprisingly enjoyable, as adaptations of cult comic books go, thanks to a sense of humor all too rare in the genre, winning performances by Ron Perlman and Selma Blair, and a sweet romance of the kind that made "Spider-Man" a richer experience than its competitors.
  13. A disarming but low-impact documentary that amounts to an odd dual biopic, Shepard & Dark can feel a bit like intruding on a conversation between two old friends.
  14. The big new addition in Shrek the Third is Justin Timberlake as the high school-age future King Arthur, but if Timberlake contributed a song to the soundtrack it would have to be "WhinyBack."
  15. Ultimately has a somewhat unfinished quality that complements the movie's themes -- and Hall's haunting performance.
  16. Ted 2 has so many mo–ments of crazy brilliance that I laughed a lot, if infrequently. Is a ballplayer who whiffs four balls but knocks the fifth one 500 feet worth watching? I say yes.
  17. iIt is clear that it would have benefited from black-and-white cinematography. And the melodramatic musical soundtrack is annoying and unnecessary.
  18. The Road to Guantanamo is a missed opportunity. This is a subject that deserves a more thoughtful documentary or docudrama, not a hastily thrown together amalgam of the two.
  19. There's an air of extreme predictability and inevitability in the script - which takes liberties like moving the climactic debate from the University of Southern California to the grander precincts of Harvard.
  20. More funny than scary.
  21. Nine Lives hands the viewer a lot of work -- learning a whole new set of characters every few minutes -- for a disappointing wage. The bad stories waste your time, and the good ones leave you unsatisfied.
  22. Annabelle is mostly a grab into the Great Big Bag O’ Horror Clichés: sound-bombs of shrieking violins explode randomly, doors slam unbidden, rocking chairs creak by themselves, machines suddenly whir to life.
  23. The firefights and chase scenes, no matter how much they adhere to genre, seem more real than the people trapped in the corruption.
  24. The movie is just a situation salad, at least until the end, when things start to pull together a bit.
  25. Farrell feels like a weak link here, never quite as masterfully manipulative or brutish as the role calls for.
  26. Occasionally stagy and flat, "Die" is worth seeing for Busch's grand performance, which won him a Special Jury Prize at this year's Sundance Film Festival.
  27. Quickly morphs into a messy double message movie with motifs and clichés lifted from military courtroom films like "A Soldier's Story" and "A Few Good Men."
  28. Though Mantegna can't quite lick the essential staginess of Mamet's adaptation of his play, even with lots of scenic shots of Lake Ontario, the performances are what one would expect with such a consummate actor in charge.
    • New York Post
  29. The movie jogs along nicely without ever getting a case of the stupids; far from being a bloated “John Carter,” it’s just a pared-down yarn of survival: “Die Hard” on a planet.
  30. The film is primarily interested in the music that accompanied this turmoil, which is a bit like covering the American Revolution with the focus on the wigs Washington and Jefferson wore.

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