New York Post's Scores

  • Movies
  • TV
For 7,003 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 The Lord of the Rings: The Return of the King
Lowest review score: 0 Fun with Dick and Jane
Score distribution:
7,003 movie reviews
  1. Mighty entertainment that makes you feel sorry for the saps next door in the multiplex.
  2. Tamhane’s quiet techniques build to pure, cold fury.
  3. The results are remarkably intelligent and entertaining, even for someone who (like this writer) finds Cave’s music rather dirge-like.
  4. A terrific work of political and social satire set in a Nebraska high school that has the intelligence of (the less coherent) "Rushmore," while painting a much darker picture of politics and human relationships.
    • New York Post
  5. Like a dedicated teacher, this is a film that stays with you.
  6. A sublime meditation that is one of this year's wisest, warmest and funniest films.
  7. The Soviet era is more interesting than the NHL years, but still, the film is entertaining even for ardent nonfans.
  8. Thoughtful and entertaining documentary.
  9. Brazilian director Anna Muylaert’s deft, funny film is set in São Paulo, but the class distinctions shown have no borders.
  10. 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.
  11. 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.
  12. The story becomes so convoluted and contrived that much of the tension dissipates.
  13. 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.
  14. 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.
  15. The image that sticks with you here is a smoky pub where the patrons are singing "You Belong to Me.''
  16. The End of the Tour is a five-day bender of a talk — a film that illuminates like few others the singular pleasure of shared discovery of one another’s sensibility. In an unassuming way, it’s a glory.
  17. The story is fascinating, infuriating and even laugh-out-loud funny at times.
  18. Loving but overlong meditation on movies and the people who make them.
  19. A loving tribute to cinema by Tsai Ming-liang, one of Taiwan's most accomplished and popular directors.
  20. A pleasing fable reminiscent of G-rated nature movies of the '60s and '70s, before kiddie cinema required CGI or hip cultural references.
  21. Deadly serious about its message: that the West is just as vicious and corrupt as Africa.
  22. Larson shines as an adult staffer assigned to keep these self-destructive kids safe while they work with therapists.
  23. 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.
  24. 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.
  25. 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.
  26. To paraphrase that old quip about slow-paced art films, it literally is watching paint dry.
    • New York Post
  27. His (Friedkin) very lack of subtlety is both the strength and weakness of The Exorcist in the 21st century.
    • New York Post
  28. A thrillingly vicarious experience that answers a primal urge to join our feathered friends as they soar and glide in the blue beyond.
  29. With its dry wit and all-star household, Baumbach's movie resembles Wes Anderson's "The Royal Tenenbaums" without the heavy whimsy.
  30. One of the year's most consistently entertaining and ingratiating movies, building to an inspirational climax that's as rousing as it is predictable.

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