New York Post's Scores

  • Movies
  • TV
For 6,969 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 Watchmen
Lowest review score: 0 The Canyons
Score distribution:
6,969 movie reviews
  1. Things rapidly go downhill in this pinch-penny production.
    • New York Post
  2. The good news about I Don't Know How She Does It is that it's so bad that it's another ovary-punch to the formula chick flick. Bring on more films like "Bridesmaids."
  3. Danny Huston looks and sounds like his celebrated father, John, more and more each year, so I enjoyed watching him play a flamboyant and womanizing legendary director not unlike his old man in Bernard Rose’s modest little comedy.
  4. And So It Goes appears to be targeting an audience segment that rarely goes out to the movies — while providing them a cringe-worthy incentive to never do so again.
    • 38 Metascore
    • 63 Critic Score
    A film that parents can confidently and with pleasure take their little ones to see - but which is not quite a good movie.
    • New York Post
  5. Given the complete lack of chemistry between Chan and Forlani, their rather awkward lip-lock isn't worth $10 to see. Sadly, neither is anything else here.
  6. Heartlessly efficient kidnap thriller.
  7. So off-the-wall that it may well ultimately acquire the cult status of Resnick's earlier Chris Elliot vehicle, "Cabin Boy."
  8. Harmless, if slightly hyperactive, fun.
  9. A lark for anyone who's willing to check their brains at the concession stand for 100 minutes.
  10. Occasionally works and has a handful of great moments.
  11. Lame family filler.
  12. Director Gabe Torres lobs a twist you'll likely see coming, and another you may not - neither satisfying enough to justify an hour and a half of Dorff-in-a-box.
  13. Paul Haggis’ Third Person has nothing to say and spends 2 ¹/₂ hours not saying it. Its combination of pretentiousness, vanity and vapidity suggests Alain Resnais directing a triple episode of “Guiding Light.”
  14. What elevates Men, Women & Children considerably above a dramatized (and occasionally over-dramatized) lecture on the dehumanizing aspects of the Internet is the consistently high caliber of acting (including, yes, Sandler) and spot-on narration by Emma Thompson.
  15. Here comes Wayne Kramer's Crossing Over, a bid to create the "Crash" of illegal-immigration dramas.
  16. Essentially a downscale TV movie about spousal and child abuse.
    • New York Post
  17. Its intriguing subject matter is diluted by too many bland performances.
    • New York Post
  18. Fails to draw much humor from farcical situations.
  19. Sucky vampire flick.
  20. Filmmaker Josh Stolberg claims to have been inspired by real-life events, but mostly he ineptly rips off other movies and wastes a cast that includes Rosanna Arquette, Adam Arkin and Elizabeth Perkins.
  21. At the end, as Shadyac proclaims, "I stopped flying privately" (well, hurrah for you, Mahatma), renounces his Pasadena mansion and moves into a trailer park, the results of his epiphany grow funnier than any of his movies.
  22. The result is mystifying - intentionally so - and frustrating. But it's worth a look.
  23. The minimalist style keeps the suspense warm. The movie is unusual among teen horror flicks in that it largely avoids the usual cheap thrills and bursts of scare music. Instead, it carefully repeats isolated images and sound bites until they take on a shivery power.
  24. Yes, it’s gross, and no, it’s not remotely original.
  25. It's funnier than "Bedazzled," which isn't saying much.
  26. Lame spoof.
  27. The cinematic equivalent of enduring a cross-country airplane flight trapped in a seat next to a manic depressive.
  28. Well-meant but rambling little indie melodrama.
    • New York Post
  29. Alas, the laughs - courtesy of screenwriters J. Mackye Gruber and Eric Bress and director David R. Ellis - are unintentional.

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