New York Post's Scores

  • Movies
  • TV
For 7,421 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 7 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Juno
Lowest review score: 0 See No Evil
Score distribution:
7421 movie reviews
  1. Rogers gives a brave performance, but there isn't much chemistry between Bridges and Basinger, who were teamed to better effect in 1987's "Nadine."
  2. Holds your attention for a while, but fails to build much suspense as it races toward a predictable climax. It probably would have worked better as a series of Webisodes, which reportedly was the original plan.
  3. Excellent performances by a good cast and a fairly authentic look at working-class struggles go only so far.
  4. Haywire is a wannabe, or rather a wanna-B, and that B is for "Bourne." As each imitator comes and (rapidly) goes, my appreciation for the best superspy franchise deepens. Even top directors - in this case Steven Soderbergh - can't figure out the trick.
  5. It's a drawn-out look at politics that's largely devoid of the trademark humor that long ago got New Wave veteran Chabrol labeled the Gallic Hitchcock.
  6. The contrived script lacks subtlety, rendering most characters as stereotypes.
  7. Despite James Wan’s capable direction and very game cast, the whole thing goes increasingly wobbly like a bad axle, until it’s just a tangle of metal and bullets and yelling.
  8. The movie is a gentle British ensemble comedy much like "Four Weddings and a Funeral" - minus the four weddings and four-fifths of the wit.
  9. Jacquot's lavish décor and costumes are like the perfume the women use instead of bathing: They may cover up the willful carelessness at the center of the project, but it's still there.
  10. Basically "Jumanji" in outer space -- and even without Robin Williams, this is still a singularly loud, charmless and overbearing family movie that could use a hit or two of Ritalin.
  11. Good grief! This painfully sincere animated feature seems aimed less at contemporary kids than nostalgic adults who might buy toys marketed for what is being billed as the 50th anniversary of the Peanuts gang for their children and grandchildren.
  12. Despite Mulligan bringing her A-game, the film falls short of its potential.
  13. An occasionally amusing but strained fable about the dangers and delights of sibling rivalry that asks us to believe (for instance) that soccer scouts roam Mexico looking for 30-year-old recruits.
  14. The longer director Jan Hrebejk's film goes on, the more complex the relationships become, until the film becomes little more than a talkathon.
  15. A worthy addition to the cinematic canon, which, at last count, numbered 52 different versions.
  16. Just in time for Mexico’s Day of the Dead holiday comes this gloriously colorful animated musical, which almost (but not quite) makes up in visuals what it lacks in snappy dialogue.
  17. At some two hours, the film is 30 minutes too long. Cutting out the melodrama and sticking with the daring-do is the answer.
  18. This Cinderella is all dressed up with nowhere very interesting to go.
  19. If Ruby were more of a person than a character, we might care more for her plight. But like Calvin, Kazan has written herself into a corner that can only lead to embracing the sappy romantic clichés that Ruby Sparks tries half-heartedly to mock.
  20. Paints a vivid portrait of a compelling young man but, perhaps inevitably, goes overboard on the deification.
  21. Perhaps faithful to the spirit of the man, but frustrating if you’re actually curious about the facts.
  22. The documentary Darfur Now proves that - no matter how im portant the subject matter - following various people around with a camera doesn't necessarily make a film.
  23. It's rather sweet and life-affirming, although the transformation from sophisticate to peasant happens too conveniently and quickly.
  24. An '80s coming-of-age comedy with more energy than ideas.
  25. Whedon keeps approaching ideas, but every time he does so he leaves a flaming bag of dog poop on the doorstep, rings the bell and runs away tittering.
  26. Romero's we're-all-doomed-and-maybe-we-deserve-it pessimism is so extreme he would fit right in with a real group of brain-eaters: the French.
  27. The film keeps its focus small, but the trouble is, the characters' emotions stay that way, too.
  28. Steve Coogan’s Alan Partridge character — a craven, narcissistic, provincial TV and radio host who has been amusing the Brits for more than 20 years — proves too much of a sketch-comedy creation to sustain a film.
  29. Hardly a deep examination of gender relations or character, but in its unsentimental way it's a tender and charming story of friendship and tolerance.
    • New York Post
  30. It's a typical Solondz sad-sack tale, but this film seems to be disgusted by its own characters, which isn't true of the director's best work ("Happiness," "Welcome to the Dollhouse"). We don't need to like Abe, but it's unsettling to feel the director might actively dislike him.

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