New York Post's Scores

  • Movies
  • TV
For 7,103 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 Lost in Translation
Lowest review score: 0 Controlled Chaos
Score distribution:
7103 movie reviews
  1. This lavish coffee-table-book of a movie gradually reveals itself as an uninvolving, crashing bore.
  2. The many silences in Hide Your Smiling Faces don’t speak quite loudly enough, and the film ultimately gets bogged down by its own ponderousness.
  3. An extraordinary woman like Eva Kor deserves a less ordinary biography.
  4. Overall, The Last September is a real snooze.
  5. The presentation is conventional in style but uplifting in spirit, and worth seeing even if you know nothing about basketball.
  6. Fortunately, Chicken With Plums does have its pleasures, including Isabella Rossellini as the silkily jaded mother.
  7. The film achieves a mild uptick in the final act, with a surprise change of heart and a race to save a little girl, but up till then it's thickly earnest -- a conquista-bore.
  8. As my cat, Audrey, will confirm, I love animals. But I draw the line at having lions, tigers, gigantic snakes, bears and other predators as pets. Other people have different opinions.
  9. Fair Game stars three imposing performers -- Naomi Watts, Sean Penn and Sean Penn's lavish and intemperate hair, a fuming gusher of crazy-ass Sweeney Todd locks that dominates every scene. I couldn't tear my eyes from it, maybe because I couldn't maintain focus on anything else in this histrionic and shamelessly misleading wonk-work.
  10. Chicago 10 has interesting moments, but basically it's a teaser for Steven Spielberg's upcoming feature on the trial.
  11. A big warm cinematic jelly doughnut stuffed with youth, vitality, style, whimsy and other equally alarming properties. I tried to love it. But after 20 minutes, I sensed I was intruding on the movie's love affair with itself.
  12. Wants to be a "Last Tango in Paris" for the new millennium, but its flaccid dramatization and hollow moralizing doesn't rise even to the level of last year's "An Affair of Love," let alone Bertolucci's masterpiece.
  13. The film is conventional in style and is likely to mean more to the sadly forgotten musician's fans than to others.
  14. A slim story that becomes schmaltzy at the end.
  15. You have to wonder just how true to life the melodramatic depiction of these events is, especially since the film was made in partnership with TV's "Masterpiece Theater."
  16. Gibson sure knows how to shoot a sequence, but he also doesn't know when to stop with the blood, gore and maiming.
  17. It's just that the script, which Ozon adapted from a play, is lightweight and better-suited to stage than screen.
  18. Israeli director Nadav Lapid uses a well-worn concept — a lonely little boy is taken under a teacher’s wing — to create a slow, creepy movie.
  19. If you're going to make a documentary about Leonard Cohen, the singer-songwriter, you should have him perform some of his better-known melodies, like "Suzanne."
  20. Only sporadically entertaining.
  21. That's all laudable - but Perry, a longtime filmmaker, should have given the doc more urgency and punch.
  22. Una Noche is intriguing enough, however, to make you hope that both Mulloy and her actors are heard from again, sooner rather than later.
  23. A Quentin Tarantino knockoff from Japan, Why Don’t You Play in Hell? has some of the master’s nutty energy but little of his cleverness.
  24. A cold, emptily stylish exercise -- and one that sorely lacks the speed and vigor that made "Lola" run.
  25. Turns out to be an exercise in flatulent pretension, puffed up with a bogus, empty "spirituality" and dependent on a plot filled with implausibilities.
  26. The feel-good finale -- an ending even less in doubt than that of the most predictable Hollywood fare -- is as rousing as you'd hope and the fast-paced, on-ice action is satisfyingly authentic.
  27. Things move so swiftly and confusingly that there's little time to explore any of the people in depth. Less style and more substance is definitely called for.
  28. A beautifully acted if fairly poky coming-of-age story.
  29. The documentary is much too conventional -- lots of boring talking heads, etc. -- to do the subject matter justice.
  30. Although Hill failed to derail Thomas’ career, she seems to consider her testimony a success: She remains a highly sought public speaker about workplace sexual harassment, which in large part thanks to her is much less tolerated than it once was.

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