New York Post's Scores

  • Movies
  • TV
For 6,698 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 6.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 War Horse
Lowest review score: 0 The Smurfs
Score distribution:
6,698 movie reviews
  1. Kirschner's excruciatingly earnest coming-of-age comedy, is about as fresh as year-old matzoh and plays like the unholy spawn of "Brighton Beach Memoirs" and "Fiddler on the Roof."
  2. Syd is a jerk whose anger does not make him interesting. The only reason to keep watching is because you hope someone will drop a piano on his head.
  3. With Roth at the helm of a script attributed to Price, there is minimal suspense, audience involvement or coherent social commentary.
  4. William H. Macy lends a little class as a snail, but Smith nails it in the closing-credit outtakes: "Don't expect Robin Williams-caliber work."
  5. Why was this pointless movie made? Because quality actors like Blanchett and Weaving like to play drug addicts. They can't stop themselves. They need help.
  6. Politics aside, Trudell plays like an infomercial for its subject rather than a serious examination of the man and his beliefs.
  7. Not even Sandra Oh, as Phoebe's boss, and Elodie Bouchez ("The Dreamlife of Angels"), as Ashade's sister-in-law, can keep Sorry, Haters from becoming a sorry mess.
  8. These man-eaters are deadly, mainly in their ability to bore you to death.
  9. Who let this dog out?
  10. Watchable in a train-wreck kind of way, but you'll probably want to take a shower afterwards.
  11. Melodramatic and heavy-handed.
  12. Most of the interviews are as brief as they are obvious, and it doesn't help that none of those interviewees, including clergymen who served as technical advisers, are identified.
  13. A cheesy and unpleasant splatterfest.
  14. The film is amateurishly directed and sluggishly paced with an anorexic plot. Even the photography, sound and costumes are substandard.
  15. Scary Movie 4 concludes by satirizing Cruise's couch-jumping orgy on "Oprah." Funny, but nowhere near as hilarious as the real thing.
  16. Now that even Woody Allen has stopped making "Woody Allen movies," you would think that wannabes would move on, too.
  17. A great-looking but stupefyingly incoherent supernatural thriller adapted from a popular video game that ransacks the entire catalog of horror film tropes for more than two mind-numbing hours.
  18. If the film is meant to make us feel good about African justice, it does anything but.
  19. The film plays like one long commercial. The music's cool, but you're better off buying the CD.
  20. Most of the movie's plot becomes obvious before you even meet the brother, 10 minutes into it. Even the sex scenes turn out to be tasteful and tame. You've seen hotter stuff on Oxygen.
  21. There are bachelor and bachelorette parties, as well as much misbehavior, in this glossy and unconvincing little flick, receiving a vanity booking on the way to video.
  22. Rarely is a sports movie so inept that it can't even make its central figure likable.
  23. Arguably as effective as Ambien at inducing sleep, but possible side effects include uncontrollable laughter.
  24. Sometimes there's a fine line between a labor of love and a vanity project, and The Lost City, Andy Garcia's heartfelt - but hackneyed and interminable - love letter to his native Cuba, repeatedly crosses it.
  25. Looks great for a no-budget indie, but not a single moment rings true in this sluggish vanity project, which is sorely in need of Viagra.
  26. The documentary Giuliani Time, which seeks to knock our former mayor off his pedestal, hits him with all the force of a wadded-up Kleenex. Those who hope Rudy Giuliani never returns to public life must be getting panicky.
  27. The story lacks focus. The senses blur as wives and ex-wives come and go, and Harry regularly falls off the wagon, only to reform the next day.
  28. There is no tragedy without character, yet the way The King drapes heavy situations around its feebly imagined personalities suggests a tire thrown around the neck of a poodle.
  29. Avoiding the usual vein-popping diatribes, he comes across as learned, calm and folksy. But much of what Gore says in this slide show he gives to people whose minds are not yet fully formed (undergraduates, actors) is absurd, and his assertions often contradict each other.
  30. As a narrative, Shem, directed by Caroline Roboh, is a pointless hodgepodge, with a finale that will leave viewers scratching their heads.

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