New York Post's Scores

  • Movies
  • TV
For 6,580 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 Babel
Lowest review score: 0 Larry the Cable Guy: Health Inspector
Score distribution:
6,580 movie reviews
  1. Side by Side is an eye-opening, comprehensive look at the biggest technological revolution in Hollywood history. One huge irony is that digital formats are evolving so rapidly that the only foolproof way to archive and preserve a movie shot on video for future generations is . . . to transfer it to film.
  2. A sublime meditation that is one of this year's wisest, warmest and funniest films.
  3. Thoughtful and entertaining documentary.
  4. The complexity might require a second viewing, but there is compensation in the realistic acting by a cast of non-pros and the eye-grabbing, hand-held lensing by Boaz Yehonatan Yacov.
  5. Like all great movies, 127 Hours takes us on a memorable journey. Which is not easy when 90 percent of the movie takes place with a virtually immobile hero in a very cramped setting.
  6. The story becomes so convoluted and contrived that much of the tension dissipates.
  7. Since this low-grade comedy doesn't really even attempt to be funny, the purpose of the movie is to establish (or reinforce) a feeling of luxurious old-timey melancholy.
  8. A kind name for this attitude is false moral equivalence, or perhaps post-imperial cringe. A less kind one is Western self-hatred, or an urgent plea to tolerate the intolerant.
  9. The image that sticks with you here is a smoky pub where the patrons are singing "You Belong to Me.''
  10. The story is fascinating, infuriating and even laugh-out-loud funny at times.
  11. Loving but overlong meditation on movies and the people who make them.
  12. A loving tribute to cinema by Tsai Ming-liang, one of Taiwan's most accomplished and popular directors.
  13. A pleasing fable reminiscent of G-rated nature movies of the '60s and '70s, before kiddie cinema required CGI or hip cultural references.
  14. Deadly serious about its message: that the West is just as vicious and corrupt as Africa.
  15. Larson shines as an adult staffer assigned to keep these self-destructive kids safe while they work with therapists.
  16. Algenis Perez Soto was a baseball player in real life, which helps to explain his sensitive, understated performance as Sugar. But he's let down by a manipulative script recycled from dozens of sports and immigrant movies. At least it dispenses with a Hollywood ending.
  17. We may not need another IRA movie, but even so, Ken Loach's Brit-bashing historical drama The Wind That Shakes the Barley, winner of the top prize at Cannes last year, raises hard questions about Ireland's uncanny ability to kneecap itself.
  18. This weekend, forget "Jarhead" - two hours of guys playing grab-ass in the shower and no chicks. If you're lucky, you can con your girlfriend into seeing Pride & Prejudice.
  19. To paraphrase that old quip about slow-paced art films, it literally is watching paint dry.
    • New York Post
  20. His (Friedkin) very lack of subtlety is both the strength and weakness of The Exorcist in the 21st century.
    • New York Post
  21. A thrillingly vicarious experience that answers a primal urge to join our feathered friends as they soar and glide in the blue beyond.
  22. With its dry wit and all-star household, Baumbach's movie resembles Wes Anderson's "The Royal Tenenbaums" without the heavy whimsy.
  23. One of the year's most consistently entertaining and ingratiating movies, building to an inspirational climax that's as rousing as it is predictable.
  24. Overall, this gorgeously designed and photographed movie artfully depicts the immigrant experience in ways that transcend its setting, melding Hollywood and Bollywood storytelling techniques to weave a tale a large audience will relate to.
  25. Baumbach seems mainly interested in capturing the whimsical rhythms of unformed post-college life, with money too scarce and roommates too ample — but he already did that, did it better and with more rueful feeling, in the much funnier “Kicking and Screaming,” the debut he made at 25 and one of the best films of the 1990s.
  26. Hunger is almost silent, most of its sounds being unintelligible moans and screams.
  27. A Hijacking is Lindholm’s second feature as director; he’s also worked with such austere Danes as Thomas Vinterberg of Dogme 95 fame. What he’s learned, it seems, is how to strip away distractions, and let character become suspense, as well as destiny.
  28. A gut-wrenching experience.
  29. Not exactly as well known as Megadeth or Metallica, Anvil did indeed have 15 minutes of fame back in the 1980s. Then it went into obscurity. Now it's back, trying like hell to be somebody.
  30. The loose feel and sense for random comedy (as when a bore suddenly starts lecturing Coogan about the geological details of the cliff he is standing on) are spiffy.

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