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 Masked and Anonymous
Score distribution:
7,048 movie reviews
  1. 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.
  2. 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.
  3. 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.
  4. Flat dialogue and stiff performances (especially by the street kids, like Ballesteros, turned into actors by Schroeder) don't help.
  5. The movie can be mildly amusing. But I couldn’t figure out which of the three principals I least wanted to know.
  6. Combines the sweet strangeness of "Fargo" with the existential panic of "Memento" and some Elmore Leonard tough talk. It all creates a cinematic tummy ache.
  7. A calculating crowd-pleaser aimed squarely at the under-25 crowd, who can feel free to add a star or two to my rating.
  8. Mirikitani is a colorful character and talented artist, and his story tugs at the heart. Problem is, Hattendorf insists on inserting herself in what seems like every other scene, a device that dilutes Jimmy's story.
  9. Riding Alone features a moving performance by Takakura (often called the Asian Clint Eastwood), as well as pretty cinematography. But the mushy script, co-written by Zhang, never rises above that of a TV soap opera.
  10. You'll have to look elsewhere than this love letter to the Great White Way to explain why "Wicked" and "Avenue Q" became huge hits, and why "Caroline, or Change" joined "Taboo" as a costly flop.
  11. This slow-moving Swedish film offers not even a hint of joy, preferring to focus on the humiliation of Martin as he defecates in bed and urinates on the plants at his own birthday party.
  12. The Lady and the Duke, which drags on for over two hours, is an experiment in shooting a period film on a shoestring that turns out to be more interesting than actually entertaining.
  13. Potash's film tells an important and disturbing story, but his presentation is uninspired and non-cinematic. It's best left to TV.
  14. The fractured timeline covers five decades, which Miller weaves together, with the past shot in color and the present in black and white. Still, the soapy climax is unnecessary.
  15. As a comedy, the film isn’t especially funny, and as a screwball drug caper a la “Go,” it’s raggedly plotted, with ridiculous coincidences popping up everywhere.
  16. Under the direction of Allan Moyle ("Pump up the Volume"), Nairn, McCarthy and Balaban give confident, believable performances but overacting plagues the rest of the cast.
    • New York Post
  17. A promising film that is dragged down by the weight of its gray morbidity.
  18. Priceless provides lightweight, predictable entertainment that will make you yearn for the Tatou of yesteryear.
  19. There's little new in Armadillo.
  20. Schmaltzy and endless.
  21. What is Inland Empire - which Lynch is understandably distributing himself - about? What is it trying to say? If you figure that out, let me know.
  22. Sexploitation and art blend uneasily in Crazy Horse.
  23. The film has no ready answers, although it becomes abundantly clear that both those for and against charter schools are more concerned with covering their own asses than with helping students get a quality education.
  24. Director Baran bo Odar puts all this in the service of ghastly clichés. The rape of children has long since grown nauseatingly familiar, in books, in films, in each season of “Law & Order: Special Victims Unit.”
  25. There are lots of special effects, but sadly, no real magic.
  26. An earnest, if dreary little Canadian domestic drama.
  27. It's a touching story that deserves to be told. Unfortunately, Slesin's presentation is conventional and uninspired (lots of boring talking heads). These heroes deserve better.
  28. Adults will sniff out a general air of phoniness - the period detail isn't particularly convincing, and the Scottish factor is overcooked to the point where the script starts to resemble the national cuisine.
  29. Unfortunately for the film, it's clear from the outset this is a totally one-sided battle that well-connected developer Bruce Ratner is fated to win.
  30. Rather morbid.
    • New York Post

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