New York Post's Scores

  • Movies
  • TV
For 7,505 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 7.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Apocalypse Now Redux
Lowest review score: 0 Boys and Girls
Score distribution:
7505 movie reviews
  1. La La Land deserves credit for high spirits even if it’s essentially a collection of glamorous throwback music videos for so-so songs.
  2. The Coens, so cutting to so many of their characters, are gentler with Llewyn, inviting us to wander and wonder along with him as he ponders why he must forever play the jerk.
  3. 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.
  4. You won't have a more viscerally emotional experience at the movies this year.
  5. The Class offers no Hollywood ending, but is rewarding for those up to the challenge.
  6. Denis -- who has called the film a tribute to the great Japanese director Yasujiro Ozu -- keeps dialogue to a minimum as she delicately examines how immigration is changing the face of France.
  7. Each scene is breathtaking, such as a long shot of a river at a key moment, and an unforgettable soccer game played with no ball. Timbuktu deserves every accolade it gets.
  8. You won't see any film this year as beautiful, and plain thrilling as Apocalypse Now Redux. Watching it after sitting through this summer's record number of dumb, dreadful movies is almost a painfully good experience. [3 Aug 2001, p.30]
  9. So consistently involving because the excellent cast delivers their lines with the kind of utter conviction not seen in this kind of movie since the first "Star Wars."
  10. Director Andrey Zvyagintsev’s film combines allegory, brutal melodrama, black humor and strikingly beautiful compositions, each frame dense with meaning. Leviathan stays absolutely gripping, right up to the O. Henry twist that slams the film shut.
  11. While Tarr's newest epic, Werckmeister Harmonies, isn't intended for the shopping-mall crowd, it is more viewer-friendly and will please adventurous moviegoers.
  12. May not be a masterpiece, but it still had me in tears at the end.
  13. A groundbreaking, highly influential film, A Man Vanishes is a fiercely brilliant piece of work, but it's more intellectual challenge than pleasure.
  14. “The past is past. I don’t want to remember . . . the wound is healed,” says Kemat, an Indonesian man who survived the massacre of more than 10,000 people at the Snake River in 1965. As this documentary shows, nothing could be further from the truth.
  15. A rousing indictment of a barbaric practice.
  16. It is an important, thoroughly bewitching work of art.
  17. At first, it seems stagy and slow and even to verge on the pretentious, but the film steadily accumulates dramatic power as its carefully sketched characters reveal their internal lives. By its end, After Life has developed into one of those haunting movies whose scenes can pop back into your consciousness hours or days after you have seen it. [12 May 1999, p.56]
    • New York Post
  18. We now have the distance to see just how close to a flawless and utterly timeless a film Steven Spielberg and his collaborators crafted – one that transcended genres (sci-fi and kids’ movies) to become of one of the greatest and most durable of American movies. [2002 re-release]
  19. Chomet's wacky tale is so crammed full of eye-popping images, it's impossible to forget afterward.
  20. All hail the great Helen Mirren, who after her triumph in HBO's "Elizabeth," delivers the performance of a lifetime as that monarch's frumpy, 20th century namesake in Stephen Frear's witty, touching and engrossing The Queen.
  21. The various witnesses tell contradictory tales that turn this into a real-life “Rashomon." The fact that two of the principals — Sarah and Michael, who delivers touching and eloquent on-camera narration that he wrote himself — are accomplished actors adds another level of confusion and interest that help make this compelling storytelling.
  22. Often extremely funny, always thoughtful, the movie transcends its static nature to become a deeper picture of modern Iran than any news story could offer.
  23. So minimalist in characterization and dialogue that the plot all but evaporates -- and so does any dramatic power.
    • New York Post
  24. Haunting is the best word for Waltz With Bashir, a striking animated documentary - not an oxy moron, despite how it sounds - from Israel.
  25. The first movie I've seen in a very long while that deserves to be called a masterpiece. It's such a stunning achievement in storytelling.
  26. The filmmaker doesn't speculate about why these men are talking, but he leaves you with an excellent guess.
  27. Ida
    Both actresses are extraordinary, but Kulesza — bitter, sarcastic and tragic — carries the movie’s soul.
  28. As Viviane, Elkabetz is fascinating, wielding an incredible variety of contemptuous looks.
  29. An astonishing re-creation of the Londonderry massacre of January 1972.
    • 90 Metascore
    • 100 Critic Score
    A film of such cyclonic visual and emotional power, of such dazzling virtuosity and shattering humanity, that it is difficult to endure, yet alone describe. Savagely beautiful and savagely true, Saving Private Ryan is an excruciating masterpiece.

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