New York Post's Scores

  • Movies
  • TV
For 8,072 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 8.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 The Motorcycle Diaries
Lowest review score: 0 Zombie! vs. Mardi Gras
Score distribution:
8072 movie reviews
  1. Bones and All is a surprisingly effective and affecting cannibal love story.
  2. A sweet, science-fiction family film with a loud environmentalist message (speaking of “Avatar”) that’s good fun. It’s also nicely self-contained.
  3. One sequence is amusing: a number called “Fairytale Life (After the Spell)” in which panini grills and espresso machines sing along like they live in Pee-wee’s Playhouse. You struggle to care about the rest.
  4. Directed by Maria Schrader, the film that’s part of one of the most reliably galvanizing genres — newspaper reporters doggedly chasing down a tough story — is a disappointing, sleepy metronome with made-for-TV diminutiveness.
  5. If Falling for Christmas simply fleshed out Sierra more, and made us believe she was in love with Jake, not just grinning at everybody, we’d have a movie. Instead, it’s a predictable stunt.
  6. Every aspect — acting, writing, special effects, score — is a notch above its superhero peers. In the best possible sense, you forget you’re watching just another Marvel movie.
  7. Based on Erich Maria Remarque’s 1929 World War I novel, the German film on Netflix is unsparing in its portrayal of the horrors of battle. It’s sensory-overload, tough-though-rewarding viewing.
  8. The supremely talented Florence Pugh has rapidly rebounded from the “Don’t Worry Darling” debacle with The Wonder, a creepy new Netflix drama that’s unusually strong for the streaming service. For once, it’s the characters who endure hardship — not the audience.
  9. Ticket to Paradise would be a better time if it was as campy as its lead actress’ frozen hair.
  10. The Rock arrives with the power of a pebble in the new action movie “Black Adam,” in which the popular star plays the titular anti-hero in his first solo outing. It’s just as thoughtless and rancid as the rest of DC Comics’ crummy catalog.
  11. What I love about Green’s style is he has both a sense of the grand — he gives Michael’s mask the cinematic weight of Moses’ Ten Commandments slabs — and the goofy.
  12. The match of larger-than-life actress to larger-than-life role is perfection.
  13. Amsterdam has every advantage imaginable. Doesn’t matter. It’s the worst movie of the year so far, and I will bow down to whatever comes along and tops it.
  14. Hocus Pocus 2 is also awful to the core, but charmless and too low stakes to keep our interest.
  15. There’s so much anguish, we eventually become numb to it over the nearly three-hour film. We come to know her only as a victim, not a fleshed-out person. Is that take enlightening? Meh. Entertaining? Not really. Long? Extremely.
  16. Pugh, a sensational actress, keeps our interest as she grows increasingly suspicious and sees disturbing visions in mirrors and on windows. She brings class and gravitas to a movie that would otherwise be kinda trashy.
  17. Fraser, so good, takes what could be a joke, a flat tragedy, or even a lecture about weight and imbues it with gorgeous humanity.
  18. There’s nothing wrong with some silver screen sorrow, but not when it amounts to indecisive mush.
  19. It’s gripping, visually mesmeric, boasts an exceptional, grounded script by Tony Kushner and is acted to the hilt.
  20. Banshees, reuniting Brendan Gleeson and Colin Farrell from “In Bruges,” is a scream from start to finish-erin.
  21. Zeller’s latest mental health movie is an exhaustingly tedious experience in which you check your watch several times a minute while taking breaks from giggling at the clumsy dialogue.
  22. Dunham has made a really attractive and cohesive film, merging her modern, punky sensibilities with the dirt-and-stone drear of the time period.
  23. Lathan, who has had a long and fruitful career as an actress in TV shows like “The Affair,” does well in her first go as a director. She has just enough visual flair so as to not overwhelm the rich characters and vibrant place.
  24. Johnson still does whodunits better than Kenneth Branagh’s horrid Agatha Christie adaptations he keeps torturing audiences with. Yet despite the giggles and the beefier budget — explosions, an exotic locale, massive sets — “Glass Onion” comes off slight.
  25. I can’t speak to Bethan Roberts’ 2012 novel the film is based on, but the story’s climactic reveal is one of the most predictable in ages. It gets the award for Biggest Duh!
  26. What a refreshing break from what usually constitutes an epic nowadays — mixing Ant-Man and the Hulk.
  27. What Yankovic and director and co-writer Eric Appel have done, brilliantly in spots, is parody Yankovic’s own life while sending up the whole biopic genre. In a messed-up way, the maneuver is kinda poetic. And so very funny.
  28. After some early thrills, director Baltasar Kormákur’s movie ceases to excite because the creature has no more surprises left. He just jumps through the window — again.
  29. Lucky “Day Shift” has an Oscar winner in Foxx, who’s appealingly heroic, and gags about a burning sensation on characters’ privates.
  30. Reijn’s film, which was written by Sarah DeLappe and Kristen Roupenian, succeeds in making a young basement horror movie for today. And, as least year’s “Scream” reboot showed us, it’s a genre that’s been stuck for far too long in 1996.

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