New York Post's Scores

  • Movies
  • TV
For 7,609 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 7.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Kurt Cobain: Montage of Heck
Lowest review score: 0 One-Third
Score distribution:
7609 movie reviews
  1. The Upside has a downside: We’ve seen it a million times before.
  2. Despite the film’s wispiness, though, there is always something compelling about Waterston, who is usually the best part of any film she’s in (see also: “Inherent Vice,” “Alien: Covenant”).
  3. It's not asking much that a thriller be scary or shocking. This one waffles between being predictable and absurd.
  4. Nothing salacious, and no dropped bombs here. Stan & Ollie portrays the pair less as hot-headed collaborators than a bickering married couple.
  5. Tatiana Maslany (“Orphan Black”) is nearly unrecognizable as Petra, Silas’ longtime girlfriend caught in Bell’s roundup, and Bradley Whitford shows up in the latest of his silver-haired villain roles as a sketchy lawyer.
  6. Here, Ginsburg is just an idea, a symbol — a meme.
  7. Despite a sympathetic lead performance from Steve Carell, the fictionalized version bogs down in extensive animated doll sequences, so similar they grow increasingly tiresome.
  8. The franchise’s greatest transformation yet: He’s made a pretty good movie.
  9. Billed as a dramedy, the film has plenty of “WTF” funny moments, but it’s always laughter tinged with darkness.
  10. Jenkins is a master of cinematic portraiture, but he’s so captivated by the magic of a moment — even a single image, like cigarette smoke swirling around one of Fonny’s carved-wood sculptures — that he sometimes forgets he’s got an audience expecting a plot.
  11. Most of Mortal Engines is a wearying blast of CGI and genre-cribbing (most egregiously, director Christian Rivers hired composer Junkie XL to seemingly lift, wholesale, his soundtrack from “Mad Max: Fury Road”).
  12. The embarrassing drama — offensive, clunky, poorly written — sullies Eastwood’s storied legacy, and makes great actors such as Bradley Cooper and Dianne Wiest come off like amateurs.
  13. This “Poppins” sequel has an entirely new score, with exactly none of the cherished songs from the great Julie Andrews movie. Once you accept that, you can move on — and enjoy the countless other joys this follow-up has to offer. It will be a jolly-er holiday with Mary Poppins Returns.
  14. An Aquaman sequel is reportedly in the works. The series already has a strong leading man and a feel for an epic. The filmmakers just need to find the heart of their ocean.
  15. Although “Ben” can get a little sentimental at times, Roberts and Hedges are a team to root for.
  16. It’s a royal chore.
  17. Natalie Portman is captivating as a damaged electro-pop star known as Celeste in Vox Lux, a flawed, flashy drama from actor/director Brady Corbet (“The Childhood of a Leader”).
  18. Nestled inside that warm setup is cloying dialogue, condescending voice work and confusing story tangents.
  19. Mirai is somewhat mired in outdated gender roles, with Cho’s character hopelessly clumsy as caregiver while his wife goes back to work. But the biggest pitfall I found with Mirai, which may be more of a selling point to new parents and children struggling with sibling rivalry, is that Kun spends half the film in tears, shrieking or whining.
  20. What’s strangest about this almost-comedy, though, isn’t its mish-mash of unlikely genres, but the earnest approach to them. “Apocalypse” begins as a “High School Musical” look-alike with poppy group numbers in cafeterias and hallways. One song, “Hollywood Ending,” is a dead ringer for “Stick to the Status Quo.”
  21. The movie proves a New York teen superhero can do more than just excitedly swing around. He can move us, too. It’s the best stand-alone film to feature the iconic character so far. And it’s animated.
  22. The performance everybody will be soon talking about is Olivia Colman’s royal turn in the entrancing new drama, The Favourite.
  23. This is a film that challenges moviegoers in a way that a Marvel movie or rom-com will not, and it is worth taking the time and concentration — and, if possible, the trip to the theater — to view a true master of the craft at work.
  24. In this new, totally unnecessary version of Dr. Seuss’ holiday favorite, the mean one (voiced by Benedict Cumberbatch) isn’t all that scary or cruel.
  25. The climactic scene, in both story concept and design, is too complicated and peculiar for my tastes. But until that short blip, co-directors Phil Johnston and Rich Moore’s (“Zootopia”) film is supremely intelligent, and Reilly and Silverman once again give deep-feeling vocal performances.
  26. If the sequel is a notch less than its astounding predecessor, that’s because — like Adonis Creed does during moments of doubt — the filmmakers are overcomplicating things.
  27. The latest labored take on the old British legend, Robin Hood is little more than a pitch-black war film, complete with rudimentary medieval bombs and blood spatter on the camera lens.
  28. The lighthearted drama, about a road trip by two men — one white, one black — is unflinchingly optimistic.
  29. A gritty romp that makes the cliché-prone heist genre feel fresh again. It runs far deeper than any “Ocean’s.”
  30. With The Ballad of Buster Scruggs, directors Ethan and Joel Coen venture to the frontier once more, after “True Grit” and “No Country for Old Men.” But this time, there’s only a little grit in this very slow country.

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