New York Post's Scores

  • Movies
  • TV
For 6,902 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 6.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 The Seven Five
Lowest review score: 0 The Cat in the Hat
Score distribution:
6,902 movie reviews
  1. The tales mostly drift along and wrap up unresolved. If this is an accurate slice of Paris life, I'll take the relative excitement of Topeka.
  2. Mildly diverting, but lacks humor and pathos.
  3. Takita could easily trim 30 minutes of flab and oceans of tears from Departures. It still wouldn't merit an Oscar, but it would be a lot more watchable.
  4. There's not enough good material to fill the film's overlong 105 minutes. Is there an editor in the house?
  5. Watching The Italian Job in a theater makes you long for a fast-forward button - to skip past 90 eyeball-glazing minutes of generic caper plotting and cut to the chase, as it were.
  6. The Inheritance has a promising start but soon becomes preachy and melodramatic.
  7. The film quickly ceases to be of interest to anyone but dedicated fans. The novelty of the deliberate ugliness wears off after a song or two.
  8. The New Black often feels like a polished but uninspired op-ed.
  9. A central problem: Efron isn’t funny.
  10. Even in support of the noblest of causes, manipulation is manipulation.
  11. As formulaic in its own way as anything mainstream Hollywood turns out, In Bruges is also a fish-out-of-water comedy.
  12. The film is generic and uninspired, better suited to public TV than the big screen.
  13. Sporadically entertaining, occasionally quite funny.
  14. Rogers gives a brave performance, but there isn't much chemistry between Bridges and Basinger, who were teamed to better effect in 1987's "Nadine."
  15. Holds your attention for a while, but fails to build much suspense as it races toward a predictable climax. It probably would have worked better as a series of Webisodes, which reportedly was the original plan.
  16. Excellent performances by a good cast and a fairly authentic look at working-class struggles go only so far.
  17. Haywire is a wannabe, or rather a wanna-B, and that B is for "Bourne." As each imitator comes and (rapidly) goes, my appreciation for the best superspy franchise deepens. Even top directors - in this case Steven Soderbergh - can't figure out the trick.
  18. It's a drawn-out look at politics that's largely devoid of the trademark humor that long ago got New Wave veteran Chabrol labeled the Gallic Hitchcock.
  19. The contrived script lacks subtlety, rendering most characters as stereotypes.
  20. The movie is a gentle British ensemble comedy much like "Four Weddings and a Funeral" - minus the four weddings and four-fifths of the wit.
  21. Jacquot's lavish décor and costumes are like the perfume the women use instead of bathing: They may cover up the willful carelessness at the center of the project, but it's still there.
  22. Basically "Jumanji" in outer space -- and even without Robin Williams, this is still a singularly loud, charmless and overbearing family movie that could use a hit or two of Ritalin.
  23. An occasionally amusing but strained fable about the dangers and delights of sibling rivalry that asks us to believe (for instance) that soccer scouts roam Mexico looking for 30-year-old recruits.
  24. The longer director Jan Hrebejk's film goes on, the more complex the relationships become, until the film becomes little more than a talkathon.
  25. Despite James Wan’s capable direction and very game cast, the whole thing goes increasingly wobbly like a bad axle, until it’s just a tangle of metal and bullets and yelling.
  26. A worthy addition to the cinematic canon, which, at last count, numbered 52 different versions.
  27. Just in time for Mexico’s Day of the Dead holiday comes this gloriously colorful animated musical, which almost (but not quite) makes up in visuals what it lacks in snappy dialogue.
  28. At some two hours, the film is 30 minutes too long. Cutting out the melodrama and sticking with the daring-do is the answer.
  29. This Cinderella is all dressed up with nowhere very interesting to go.
  30. If Ruby were more of a person than a character, we might care more for her plight. But like Calvin, Kazan has written herself into a corner that can only lead to embracing the sappy romantic clichés that Ruby Sparks tries half-heartedly to mock.

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