New York Post's Scores

  • Movies
  • TV
For 7,379 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 6.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Walk the Line
Lowest review score: 0 Dungeons & Dragons
Score distribution:
7379 movie reviews
  1. The main reason for Winter's Bone to exist is that it delivers a little voyeuristic thrill -- a bit of poverty porno -- for the critics who awarded it their highest honors at this year's Sundance Film Festival.
  2. So there is courage and cheekiness here. What there is not is a story, or much insight or even anger; anyone expecting an indictment of Iran will be sorely disappointed.
  3. American Hustle is a movie that was built backward, or inside out: It puts actors’ needs before the audience’s. There’s no heart under those polyester lapels, and what all that Aqua Net is pasting together is a few sparse strands of wispy story.
  4. “GBH” is a featherweight screwball comedy that, trying mightily to be cosmopolitan, feels awfully provincial, desperately touristy.
  5. Looks great but moves like molasses, is more interesting than truly involving.
  6. In The Kid With a Bike, Belgian filmmakers Jean-Pierre and Luc Dardenne offer a sly but finally banal update of the Italian neorealist classic "The Bicycle Thief."
  7. The Tillman Story purports to be an exposé of the cover-up of the death by friendly fire of the Army Ranger and one time NFL star Pat Tillman. But, provocative and colorful as the film is, it does the very thing it denounces -- massaging the facts to seize Tillman for a political agenda.
  8. Visually flat and uninteresting and too often feels like a (leisurely paced) filmed play.
  9. Too bad there is only about half an hour's worth of story here. Mostly, we just watch the teacher get high, and his classroom talks about civil rights are nothing but filler.
  10. A schmaltzy filmed record of a Nashville concert given by the legendary former rocker, who has morphed into the new Kenny Rogers.
  11. The sort of enigmatic movie that many critics embrace because it's open to endless interpretation.
  12. Even for a French drama, Summer Hours is so slow as to be practically still.
  13. Strictly for fans of the musical acts and those who think everything Chappelle does is genius.
  14. Young Hugo (Asa Butterfield), a boy who literally lives inside the clocks he manages in a grand Paris train station in the 1930s, embodies one problem that bedeviled even Dickens: He's boringly nice.
  15. As cute and energetic as it is, The Lego Movie is more exhausting than fun, too unsure of itself to stick with any story thread for too long. The action scenes are enthusiastic, colorful but uninvolving, like an 8-year-old emptying a bucket of plastic blocks.
  16. Drag Me to Hell is pure cheese. Goat cheese.
  17. Despite its stomach-turning images (and maybe because of), it is a daring, provocative work by a talented helmer who gets off pushing the envelope. He should be supported, no matter how outlandish he gets.
  18. It is admirably unsparing and gloomily atmospheric. And I looked at my watch a bunch of times.
  19. 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.
  20. 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.
  21. A sudden lurch into trippy abstraction at the end simply doesn’t work, but for the vast majority of the time this is a strong and original film.
  22. Days of Glory has good intentions and a well-executed combat scene, but it could do with more originality.
  23. The news footage, so powerful on its own, needs no enhancement. The dramatized scenes only slow the film's momentum.
  24. At Berkeley casts a nonjudgmental eye on everyone from cement layers to students discussing Thoreau to administrators complaining about budgeting. If only everything were interesting.
  25. Clipped, controlled and composed, Jackie Kennedy was a woman of her times, but since composure doesn’t win you Oscar nominations, Natalie Portman opts to play the part with a sort of emotional incontinence.
  26. In the utterly routine effort Skyfall, we're actually expected to cheer each chord we've heard so many times (here's a martini shaker! Look, it's a Walther PPK! And there's an Aston Martin!) We've been turned into wretched Pavlovian dogs, salivating at the bell instead of the snack. The highlight, by far, is a classic animated credit sequence: Adele, you are the new Shirley Bassey.
  27. The movie falls into the same uneasy category as "Eight Legged Freaks": too tongue-in-cheek to be thrilling, not funny enough to be a comedy.
  28. 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.
  29. Many of the kids seem to be social outcasts of one kind or another, but Spellbound, which will show on cable later this year, doesn't dig deep enough to disturb the movie's relentless feel-good tone.
  30. A glossy, empty and ultimately unsatisfying — if undeniably entertaining — movie.
  31. Ultimately fails to make its case that five teenagers were sent to jail for a crime they didn't commit solely because of institutional racism.
  32. All it takes is the majestic E-flat that opens "Das Rheingold" to make you realize that, despite what Wagner's Dream insists on showing, "the machine" really isn't the point.
  33. A chilly, pretentious and talky drama.
  34. Nor does the movie try to use the game to make some larger point. Here's one: Even at its best and luckiest hour, Harvard can aspire only to equal Yale.
  35. Audiences will laugh, mainly to prove they're awake, but the humor is pretty thin.
  36. Silence comes to us billed as 30 years in the making. Unfortunately, it plays like 30 years in the watching.
  37. Hard-core Hitchcock fans will not find much in the way of revelations.
  38. Pity the boxing movie that thinks it can be both "Raging Bull" and "Rocky."
  39. The doc consists of interviews with the absurdly grandiose Jodorowsky (whose fans include Kanye West) plus acolytes like current director Nicolas Winding Refn and film nerds, all of whom walk us through storyboards and tell us how awesome this “greatest film never made” would have been.
  40. Trouble is, while the social milieu is nicely realized, other parts of the drama are not. Too often Burshtein cuts off a scene prematurely, darting away just as the crucial moment of emotion or confrontation appears.
  41. As things pick up in the second half, the splendid photography and tempestuous John Adams score cannot quite conceal that the film is uncomfortably close to being an extravagantly elongated, Fendi-clad episode of "Dynasty."
  42. Two possible ways of regarding Please Give: It's shallow. Or maybe it's deeply shallow.
  43. After a promising start, writer-director Daniel M. Cohen pours on schmaltz straight out of the similarly themed "Diamonds," including the proverbial hookers -- with hearts of gold.
  44. Needs less talk, more music.
  45. The swooping shots and the way the lack of dialogue amplifies ambient sounds are stunning. Story-wise, The Tribe is yet another art-film wallow in cruelty, not nearly as unique as its looks and its world.
  46. A ho-hum male weepie/road comedy that's worth watching mostly because of a once-in-a-lifetime gathering of England's greatest working-class actors.
  47. Boasts some genuinely intelligent and funny sequences and some nicely painful scenes of domestic tension - as well as surprisingly strong performances from actors like Neve Campbell and Donald Sutherland.
    • New York Post
  48. Filmmakers Sam Green and Bill Siegel tend to shy from tough questions, allowing their subjects to wax nostalgic about bomb-throwing as yet another youthful folly of the '70s. That's tougher to swallow than some boomers' claims they didn't inhale.
  49. Direction of all three films is no more than workmanlike, which isn't surprising since they were originally made for British television. The acting, on the other hand, is sometimes superb.
  50. Although the movie is reasonably suspenseful for a while and has a few witty moments (of a first draft, the ghost says, "All the words are there. They're just in the wrong order"), it rings false.
  51. Agreeable this film certainly is, but the shagginess never seems to take shape.
  52. The movie amounts to an extended short story that progresses slowly and fades away with key questions unanswered. Ambiguity isn't necessarily interesting.
  53. Uninspired in style, and Joan Allen's narration is dry.
  54. Buck is best left to TV, where it will land soon. It's "The Horse Whisperer" that should be seen on the big screen.
  55. Agonizingly slow-moving and talky, it consists primarily of conversations between two men in a truck.
  56. A thumping soundtrack, including David Bowie's "Rebel Rebel" and Pink Floyd's "Us and Them," fuels this high-energy look at a pack of underdogs who sowed the seeds for today's extreme sports craze.
  57. There might be a great movie to be made out of the financial crisis, but 99 Homes, which is like being shouted at by a man with bad breath while he grips your collar with both hands, isn’t it.
  58. Has its moments, but overall the effect is uneven.
    • New York Post
  59. Too-convenient coincidences hurt the movie's credibility. A melodramatic script best left to cable TV doesn't help, either.
  60. There are moments of fun (an aphrodisiac-laced dessert, for example), but generally the humor seems warmed-over.
  61. Sitting through three totally unrelated documentaries in a row -- with all that puzzling (subtitled) dialogue and those long (enigmatic) silences? That's a migraine waiting to happen.
  62. Me and You takes a couple of neat swipes at the pretentiousness of the art scene, but as a commentary on the difficulty of connecting in contemporary society, it's too precious by half.
  63. Gorgeous surroundings don't make up for sulky, feuding travel companions.
  64. Most of the best gags are in the early going and the film seems ever more stretched and thin as it goes on. It would have made a brilliant eight-minute sketch, though.
  65. It may take a scorecard to keep track of the complicated relationships in this sorry clan.
  66. Moves in a predictable path that includes some remarkable coincidences.
  67. Perhaps this year’s timeliest film — as well as, unfortunately, one of the hardest to sit through.
  68. All this is loads of fun, but after a while sensory overload sets in, dulling the mind. Even in a kung-fu flick, more isn't always better.
  69. Spy
    Alas, “sad case” is not how we want to see McCarthy; it’s frustrating to see her spend more than half the movie being the pathetic target of jokes rather than the dominating figure she was in “Bridesmaids” and “The Heat,” both of which are far funnier than this one.
  70. The first “John Wick” was taut and nasty, a potent slug of B-movie. This one is so enamored of its own extravagance that, on more than one occasion, I was reminded of “Zoolander 2.”
    • 75 Metascore
    • 50 Critic Score
    The dialogue is dubbed into English by generic actors, whose phony, emotionless rendition undermines what's on the screen.
  71. After the first two “Captain America” entries, the finest comic-book movies of the last five years, this one is disappointing. The story doesn’t make sense.
  72. Sadly, with the Soviet Union gone, the art faces a new enemy: Islamic extremists.
  73. Will Marcela (wonderful Ana Geislerova) opt for brains or brawn? The answer might surprise you.
  74. At best, mildly entertaining.
  75. Treads an awfully thin line between the provocative and the exploitative.
  76. Neither bad enough to be a complete waste of time nor good enough to remember past next Tuesday, the film co-written and directed by Christopher McQuarrie staples together one routine action piece after another with cutesy dialogue and lots of merciless pounding away at iPad screens.
  77. The documentary Tabloid shows that an oddball lead character and a smirky style do not necessarily add up to a complete movie.
  78. This is a fine idea for a PSA TV commercial, but (a) they already did it back in the ’70s and (b) it goes on well past the 30-second mark.
  79. Thereare moving moments in this over-hyped satire by the Israeli-Arab writer-director-actor Elia Suleiman, and it's fascinating to get a picture of daily life in prosperous Palestinian neighborhoods.
  80. If you can't be original, why not borrow from something no one has seen, like Ben Affleck's last five movies?
  81. Raja, which is basically a dark comedy about how this odd couple manipulate each other, is extremely well acted, though the direction by Jacques Doillon is on the leisurely side.
  82. Mongol really isn't worth leaving your yurt for.
  83. In mashing together story elements from Terrence Malick’s “Badlands” with the look of Malick’s “Days of Heaven,” Lowery put 90 percent of his energy into the atmosphere and 10 percent into the script.
  84. As directed by Ole Christian Madsen, the thriller features well-choreographed shootouts and assassinations. But the script is too melodramatic and complicated for its own good.
  85. Despite a remarkable performance by Suliman, who’s almost never off-camera, events become increasingly pat and implausible, with one explanatory scene played like a shadowy variation on Kevin Spacey’s monologue in “Se7en.”
  86. You could say the 3-D animated kidpic How To Train Your Dragon is "Avatar" for simpletons. But that title is already taken, by "Avatar."
  87. Big Hero 6 even has a title that sounds like a product ordered off the takeout menu of the type of restaurant that recombines a few elements in many ways. That could work fine, if any of the ingredients were particularly flavorful.
  88. Even on that happy 2005 election day, which was so successful that it led to a December round of elections in which the Sunnis did participate, Poitras takes a break to show us a close-up of someone slitting the neck of a rooster.
  89. Joe
    David Gordon Green’s Joe largely succeeds in immersing us in a rural world of cruelty, ugliness, decay, neglect and aggression, but if there is a point to it all, I couldn’t find it.
  90. The visual effects are amazing, but they don't make up for acting that is restrained to an uninsightful fault.
  91. The static, claustrophobic movie is very much a filmed play.
    • New York Post
  92. The quality of the acting, Cave's hellfire score and the heavy atmospherics of the directing merely dress up a cliché: Violence leads to more violence.
  93. It’s mainly instructive in that it shows how liberals believe the end always justifies the means.
  94. This atmospheric, cool-looking but gimpy thriller based on a John le Carré novel makes “Tinker, Tailor, Soldier, Spy” look like “22 Jump Street.”
  95. Every episode of "Law & Order" I've ever seen has a more complicated and plausible plot, punchier dialogue and more New York authenticity, all in less than half the time consumed by this poky would-be finance thriller.
  96. A challenging experimental film that will never play in a commercial movie theater and is settling in for a two-week run at the ever-venturesome Film Forum.
  97. Johnny Depp puts in a cameo declaring that "most Americans believe the clichés about Gypsies." Unfortunately, the well-intentioned film never gets beyond clichés itself.
  98. The teary-eyed sincerity of the music-industry drama Beyond the Lights is at times too much, but despite its cliche elements, the film at least has the feel of a passion project.
  99. Flat dialogue and stiff performances (especially by the street kids, like Ballesteros, turned into actors by Schroeder) don't help.

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