New York Post's Scores

  • Movies
  • TV
For 7,048 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: 56
Highest review score: 100 Tony Takitani
Lowest review score: 0 Goodbye to Language 3D
Score distribution:
7,048 movie reviews
  1. A chilly, pretentious and talky drama.
  2. 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.
  3. Audiences will laugh, mainly to prove they're awake, but the humor is pretty thin.
  4. Pity the boxing movie that thinks it can be both "Raging Bull" and "Rocky."
  5. 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.
  6. 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.
  7. 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."
  8. Two possible ways of regarding Please Give: It's shallow. Or maybe it's deeply shallow.
  9. 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.
  10. Needs less talk, more music.
  11. 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.
  12. 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.
  13. 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
  14. 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.
  15. 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.
  16. 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.
  17. Agreeable this film certainly is, but the shagginess never seems to take shape.
  18. The movie amounts to an extended short story that progresses slowly and fades away with key questions unanswered. Ambiguity isn't necessarily interesting.
  19. Uninspired in style, and Joan Allen's narration is dry.
  20. Buck is best left to TV, where it will land soon. It's "The Horse Whisperer" that should be seen on the big screen.
  21. Agonizingly slow-moving and talky, it consists primarily of conversations between two men in a truck.
  22. 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.
  23. 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.
  24. Has its moments, but overall the effect is uneven.
    • New York Post
  25. Too-convenient coincidences hurt the movie's credibility. A melodramatic script best left to cable TV doesn't help, either.
  26. There are moments of fun (an aphrodisiac-laced dessert, for example), but generally the humor seems warmed-over.
  27. 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.
  28. 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.
  29. Gorgeous surroundings don't make up for sulky, feuding travel companions.
  30. It may take a scorecard to keep track of the complicated relationships in this sorry clan.

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