New York Post's Scores

  • Movies
  • TV
For 6,764 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: 55
Highest review score: 100 We Are the Best!
Lowest review score: 0 Sex, Politics & Cocktails
Score distribution:
6,764 movie reviews
  1. Gut-Bustingly funny moves are pretty rare, so hustle over to Kung Fu Hustle, actor-director Ste phen Chow's exhilaratingly hilarious and affectionate send-up of Hong Kong action flicks.
  2. The twists are executed superbly, right up to a climax that fits the David Mamet definition of what makes for a perfect ending: It is both surprising and inevitable.
  3. Not many people are making silent horror serials these days, but Canadian filmmaker Guy Maddin pushes his love of lurid melodrama to the limit in his latest demented treat, Brand Upon the Brain!
  4. Bryan Singer’s whip-smart and witty time-travel romp X-Men: Days of Future Past blows a breath of fresh air through the musty Marvel universe.
  5. A yellow dog of a movie that delights in offending the offendable. It's also a whitesploitation classic, from its menacing sideburns to its demented laughter.
  6. One of the best films released so far this year, At Any Price signals the arrival of Iranian-American Ramin Bahrani in the ranks of major US directors.
  7. Gentle, simply told love stories are as rare in documentaries these days as they are in narrative film. That alone makes Yi Seung-jun's Planet of Snail a standout.
  8. Utterly delightful.
  9. Mud
    Mud runs over two hours, climaxing with a shootout that belongs in a different movie. It’s a rare misstep in an art-house movie that will pull mainstream audiences along as inexorably as the Mississippi River. Go see it.
  10. Showing the personal toll that produces a star in any field could be a soggy, predictable drag, but the documentary A Man's Story never slides into easy sentiment or bromides.
  11. The Good, the Bad, the Weird may owe a lot to other films, but it is always fresh and never boring.
  12. You don't have to know Chile's bloody history to be moved by the poignant new film Machuca, the first movie made by a Chilean about the country's 1973 military coup.
  13. Like Roald Dahl's book, Tim Burton's splendidly imaginative and visually stunning - and often very dark and creepy - new version of Charlie and the Chocolate Factory is squarely aimed more at children than their parents.
  14. The film is less violent and bloody than much of the director's work, but the absurdity level is sky high. Takashi Miike is at the top of his game, loving every minute of his surreal visit to the twilight zone.
  15. Between D-Day, the sheer ambition of Paul Thomas Anderson's historical epic and Robert Elswit's dazzling cinematography, this is a must-see movie - even though its emotional temperature rarely rises above freezing and the climax goes way, way, way over the top.
  16. A grim, challenging movie that will amply reward audiences willing to go along with its ride into the dark depths of its characters' souls.
  17. Sweet without being sticky and funny without getting silly, Whip It introduces Barrymore as a director with a keen eye, a good ear for tone and an inspired touch with actors.
  18. After seeing Everybody's Fine, Paul McCartney offered to write a song that plays over the closing credits. That may be because the whole movie is like a celluloid McCartney tune: warm and playful and sweetly earnest, but lightly funny, too, and crafted with consummate skill.
  19. [McCarthy] marries beautifully spare compositions with comically abbreviated dialogue to craft something magnificent from a vaguely precious premise that could easily be the foundation for a parody.
  20. Like the paintings of the master, Renoir is beautiful to look at, but it would be a mistake to call the film (or its subject) shallow.
  21. The most devastating spoof of reality TV since Albert Brooks' 1978 "Real Life."
    • New York Post
  22. Walken was largely typecast in quirky roles as a result of playing the title character's brother in "Annie Hall," so it's something of a delightful irony that 35 years later, Walken finds his most rewarding role leading a terrific ensemble in what amounts to one of the best Woody Allen movies that Allen wasn't involved in making.
  23. As for Hoffman, the shambling Everyman naturalism he shows here gives God’s Pocket an added elegiac layer that makes its bitter ironies that much more painful.
  24. Duvall and Spacek are so in tune with each other's rhythms -- despite their 20-year age difference -- that it's hard to believe they've never acted together before.
  25. There’s an exhilarating sadness to it all that amounts to cinematic poetry.
  26. Emotionally honest, feel-good saga with a universality that stands out in a season of singularly depressing and cynical Hollywood product.
  27. A remarkable accomplishment, an absorbing documentary about the joy of reading that's also a positively gripping literary mystery.
  28. An enthralling 3-D IMAX documentary.
  29. It's a sharply written, unforgettably directed character study with brilliant performances by Joaquin Phoenix, Philip Seymour Hoffman and Amy Adams - far more intimate but no less intense than director Paul Thomas Anderson's Oscar-winning last film, "There Will Be Blood.''
  30. A crowd-pleasing baseball movie for people - like me - who don't like baseball movies...Probably the finest baseball movie since "Bull Durham".

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