New York Post's Scores

  • Movies
  • TV
For 6,382 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 6.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Blood Simple.
Lowest review score: 0 Swept Away
Score distribution:
6,382 movie reviews
  1. This genre flat-lined a long time ago. Why won't it stay dead?
  2. Japan's Takashi Miike has the formula down pat, but Eisener has no idea how to give violence a touch of class.
  3. Except for Brolin as an unlikely born-again Jew, nobody fares well under Mulroney's ham-fisted direction.
  4. The American Muslim comedian Ahmed Ahmed does lots of jokes about how he isn't a terrorist. How odd: As I sat through his tepid act, I could have sworn he was bombing.
  5. There's still no good reason to suffer through a half-baked little movie that proves indies can be every bit as boringly formulaic and artistically bankrupt as their big-budget brethren.
  6. In the appalling documentary If a Tree Falls, a narrator referring to an arson attack by the Earth Liberation Front solemnly intones, "In one night, they had accomplished what years of picketing and writing had never been able to do." Well, yes -- terrorism does make short work of red tape, doesn't it?
  7. A dull, by-the-numbers psych-ward horror thriller that's sadly a lot closer in quality to "Sucker Punch" than "Shutter Island."
  8. Really it's just a trashy bid to be the "Scarface" of Mesopotamia.
  9. A pointless drama that trafficks in cliché.
  10. You'd be better off renting "Eddie and the Cruisers" (1983) than slogging through this latest, far more dire recycling of the same rock clichés.
  11. Little more than a rehash of old news.
    • 24 Metascore
    • 25 Critic Score
    Family Tree, which seems to have been written using indie-film Mad Libs, devolves into way too many quirky subplots.
  12. The real mystery is this: Even if you find this guerrilla art project utterly fascinating, why would anyone bother to release an incomplete film about it?
  13. The latter is played by Parker Posey, who looks baffled throughout. As well she should.
  14. The good news about I Don't Know How She Does It is that it's so bad that it's another ovary-punch to the formula chick flick. Bring on more films like "Bridesmaids."
  15. Jane's Journey is an exceedingly graceful and dignified sleep aid.
    • 42 Metascore
    • 25 Critic Score
    At its most entertaining when the parrot does the talking.
  16. Recalling the lesson about bringing a knife to a gun fight, a British documentary filmmaker brings a spoon to a hatchet job in the film Sarah Palin: You Betcha!
  17. This is essentially a student film offering nothing but absurdly contrived coincidence.
  18. This film is narratively inert (we spend a lot of time listening to the same questions being asked over and over) and, like virtually all docs in its genre, less than vigorous in its pursuit of truth.
  19. Sorry, but if your sensibility is pure trashy camp, don't expect anyone not to laugh when you try to be earnest.
  20. A dispiriting rehash of dysfunctional family clichés that seems to last longer than Thanksgiving Day dinner.
  21. This time the execs are lobbying us, yet the public grows increasingly furious as our tax dollars fund corporate welfare, bailouts and dumb ideas like the $41,000 golf cart that is the Chevy Volt.
  22. Michael Brandt's soporific thriller is making a token stop in theaters before its January DVD debut. Miss it if you can.
  23. The indie road movie Janie Jones is billed as "inspired by the true story" of its writer-director, David M. Rosenthal. Impossible. No one's life is this boring.
  24. Ineptly written and directed, the nihilistic The Son of No One flaunts an attitude best summed up by a cynical Pacino -- "A man has to live with s--t.'' Maybe so, Al, but audiences have the option of skipping this bomb.
  25. Even at a supposed celebration, the well-bred and well-off aren't really happy at all. So the title is ironic. Thanks for that profound insight.
  26. Moreover, in attempting to update the play to a buzzing CNN world, Ralph Fiennes proves that as a director, he makes a fine actor.
  27. About as artistically profound as those framed 3-D photos of the Twin Towers emblazoned with "Never Forget'' that are still for sale in Times Square a decade after 9/11.
  28. Zhang Yimou, one of China's best-known filmmakers, deserves a great big lump of coal in his holiday stocking thanks to his ludicrous soap opera The Flowers of War.
  29. It's sad to see Quaid in sloppily directed (by Martin Guigui) dreck like Beneath the Darkness less than a decade after the performance of his career as a closeted married man in "Far From Heaven.''
  30. Luiz Inacio Lula da Silva, Brazil's reformist two-term president, gets the once-over-lightly treatment in Lula, Son of Brazil.
  31. The French affection (affectation?) for conversational film reaches absurd proportions in the talkathon Domain.
  32. Would the Mayans have predicted the end of the world in 2012 if they'd known it would inspire not only "The Tree of Life'' and "Melancholia'' but an endless supply of more dreary depictions of end-times like this one?
  33. How cheap-looking is the modern-day romantic tragedy Private Romeo? Take a couple of friends to see it, and the amount you spend may exceed the amount the filmmakers did.
  34. Yunus would seem to be a prime candidate for a movie about his work. Unfortunately, director Holly Mosher's by-the-numbers documentary Bonsai People isn't the answer.
    • 24 Metascore
    • 25 Critic Score
    With an emotional depth roughly equivalent to that of his lacrosse stick...
  35. This indie documentary is egregiously Hollywood in spirit. That a take-charge white football coach can buck up a place like Manassas HS with some gridiron grit is a lie we want to believe.
  36. The only part of this movie anyone's ever going to remember is the pair of scenes in which Ghost Rider pees flame.
    • 48 Metascore
    • 25 Critic Score
    There is no way you could make this movie stupider or more pointlessly noisy than it already is.
  37. The Lorax is awful, like chronic disease.
  38. Interminably long, dull and incomprehensible, John Carter evokes pretty much every sci-fi classic from the past 50 years without having any real personality of its own.
  39. When they came in to pitch A Thousand Words, no doubt by calling it "Jerry Maguire" meets "Groundhog Day," a studio exec should have raised the palm of rejection and said, "When you stop being sadly derivative and write an original idea that's as good as those two, come back."
  40. Completed four years ago, Seeking Justice is dutifully directed, with an absolute minimum of thrills, by Roger Donaldson, whose credits include the terrific "No Way Out" (1987)...That film's title is a pretty good description of where Cage's career seems to be headed.
  41. May be well-intentioned, but it's as obvious and inert as a spoonful of mashed potatoes.
  42. Fails to draw much humor from farcical situations.
  43. ATM
    Maybe DVDs of "Buried" and ATM will be sold in the same package someday. You could call it a trapped-in-a-box set.
  44. Features some good acting, but most of it doesn't ring true.
    • 39 Metascore
    • 25 Critic Score
    I'm beginning to think writer Nicholas Sparks isn't one person at all, but a roomful of ladies doing Harlequin-romance Mad Libs. Occasionally they'll hit a winning combination, as in the Sparks novel "The Notebook." More often, you get eye-rollers like "The Lucky One."
    • 51 Metascore
    • 25 Critic Score
    Shove people into categories, then into a film like Think Like a Man, and it's a recipe for tedium.
  45. There's little reason to see the claustrophobic Chronicling a Crisis unless you have a fascination with the Kolleks. Watching the vanity project is like being forced to sit through a friend's boring home movies.
  46. Even an appearance by Alec Baldwin as Moretz's eventual - if highly unlikely - savior isn't enough to keep Hick from leaving a bad taste.
  47. Nesting is a sitcom, but a really slow and dull one that barely grinds out 22 minutes' worth of plot to fill a 90-minute hole.
    • 35 Metascore
    • 25 Critic Score
    Mansome is basically a reality-TV episode, with similar production values and precisely the same depth of perception.
    • 42 Metascore
    • 25 Critic Score
    Disliking this film feels churlish, like rooting for the Yankees to crush the Little League champs. But amiability, and the natural affinity most people have for David over Goliath, can't substitute for skill and imagination.
  48. This is an exhausting, eyeball-gougingly ugly 90-minute assault of non-stop action, with an all-star voice cast shouting witless lines and a wide variety of objects lobbed at the audience in the crudest 3-D fashion.
  49. A decent idea for an episode of "Everybody Loves Raymond," The Do-Deca-Pentathlon falls short as a movie.
  50. Gets sillier and sillier as it goes along.
  51. At first glance, Grassroots doesn't seem like much of an idea for a movie. Nor at second, third or fourth glance. Your fifth glance will be at your watch, and at sixth glance your eyelids will be getting very, very heavy.
  52. The danger of dreaming up a predictable adventure for a group of nobodies you hold in contempt is that the audience will see your indifference and raise you.
  53. I'd call Diary of a Wimpy Kid: Dog Days harmless if it weren't for some totally unnecessary gay-panic jokes that could actually encourage bullying.
  54. 360
    A sort of "Babel" of bonking, 360 gives us much in the way of international anguish, frustrated coupling and longing stares, but there's very little plausibility or genuine emotion in its egregiously contrived story of ardor gone amiss.
  55. Corny action scenes and borderline-hilarious direction by Isaac Florentine mark the film as an obvious straight-to-video item that somehow took a wrong turn into a movie theater.
    • 43 Metascore
    • 25 Critic Score
    It's their hard luck that this movie is being released as the Olympics wind down. The contrast with the beauty and self-discipline seen for the past two weeks doesn't exactly work to the advantage of Nitro Circus.
  56. A Walmart "Wall Street," the hedge-fund drama Supercapitalist is junk merchandise stamped "made in China."
  57. The climax is as dull as reading the dictionary of a language you do not speak.
  58. Dire musical interludes are sprinkled throughout the sprawling mess Beloved, an uninvolving would-be romantic epic that spans 45 years in the life of a mother and her daughter, starting in the early 1960s.
  59. Stakes aren't the only problem with this sloppy thriller, which combines careening images with turgid storytelling.
  60. The documentary tells us little we don't already know and is overwhelmingly one-sided. It would make a nice TV infomercial, but certainly doesn't deserve a big-screen release.
  61. Biehn has appeared in dozens of B-movies and evidently had no greater ambition than to come up with a grindhouse movie full of sex, gore and cheap thrills, but there is far too little of any of these to maintain interest in a straight-on story that reserves its only surprise for the final 30 seconds.
  62. Wavers between extreme silliness and unbearable earnestness.
  63. The acting, script and direction - not to mention the syrupy score - conspire to make this a perfect storm of a hoot that will find its most appreciative audience among renters who have had a few glasses of wine beforehand.
  64. Sundance Mopey Alienation Flick No. 4,228 is For Ellen, an empty angst-athon that proves 90 minutes of close-ups of Paul Dano looking wounded can be even less interesting than it sounds.
  65. There may be a lot left to say about Hurricane Katrina, but if so, I'm Carolyn Parker doesn't say it.
  66. All I wanted to do was escape from this aggressively ugly world and its equally unattractive characters. It's not that the movie is in bad taste or cheesy (though it is) but that all of its hyperviolence adds up to nothing: This thing is dedd.
  67. This is just a slow-moving skin flick broken up by lots of boring discussions about Cherry's future.
    • 61 Metascore
    • 25 Critic Score
    The setting for "17 Girls" is a French seaside town with a gorgeous beach. Aside from that, what you have here are the ingredi-ents for a Maury Povich show.
  68. The Paperboy can't decide whether to be an unfunny sex comedy, a half-hearted detective story or a woeful race drama - so it decides to be all three, then becomes yet another movie (a swampy "Heart of Darkness") in the final act.
  69. Directed by journeyman actor Matthew Lillard, this tame and by-the-numbers effort never succeeds in making the outcast situation cinematic or interesting.
  70. It's another in the bicoastal indie industry's endless series of self-congratulatory comedies about the alleged dopiness of middle American hicks who do things like read Parade magazine and decorate with flags.
  71. There needs to be a 12-step program for movie people to stop sharing their "deeply personal" yet insight-free stories of addiction.
  72. The parallels between the kids' war and the real one are made far too obvious by Christophe Barratier, who made the equally treacly "The Chorus" and infests the movie with nonstop musical goo.
  73. Even if you overlooked the production values from a 1986 porno and special effects like something your nephew cooked up on his Mac, the movie's "Yay, money!" zingers are just a big bag of sad.
  74. None of Dunham's humor comes across, except when someone says, "And when you speak, your words are snakes I swat at with swords," which is hilarious, but not intentionally.
  75. I'll grant that the film has many layers. All of them are terrible.
  76. The Oscar-winning director of "Rain Man" - whose last film, the abysmal documentary "PoliWood" never went much further than the Tribeca Film Festival - demonstrates he can make a shakycam found-footage horror movie every bit as fake-looking, clumsy and unscary as your average college student working on a $200 budget.
  77. Cancels itself out by being too campy to take seriously and too tragic to laugh at.
  78. At 96 minutes it is exactly 93 1/2 minutes too long. If they're going to put this artifact in theaters, they'd better charge 1973 grindhouse prices: a dollar a ticket.
  79. A low-watt, low-wit comedy.
  80. This infomercial for Helnwein's work as designer for an Israeli opera called "The Child Dreams" doesn't tell us a lot about how opera comes together, but it is accidentally revealing about its subject.
  81. Painful, misshapen and a little gross. It's an enlarged prostate of a movie.
  82. If the poor really interested such filmmakers, these movies would have something to offer other than lugubriousness masquerading as seriousness, and clichés presented as hard truths.
  83. Parental Guidance kicks off with a mean-spirited joke about an overweight woman and heads downhill from there.
  84. Among gay Jewish French postman movies, Let My People Go! may be a Hall of Fame entry, but alas, by any other standard this would-be sex comedy is a dismal failure.
  85. A supernatural horror-comedy that's frighteningly lacking in wit, John Dies at the End thinks it's "Buffy the Vampire Slayer" for dudes. But in its randomness, its vulgarity and its level of humor, it's more like the collected writings on the walls of a roadside men's room.
  86. So feeble it fails even as train-wreck exploitation. I’d be unkind, but not entirely inaccurate, to label Coppola’s sophomoric, er, sophomore effort as a director an offer you can refuse.
  87. Actually, Bruce, what stinks is the script — which is woefully lacking the kind of one-liners and memorable bad guys that helped make working-class hero McClane so iconic he’s still around after 25 years. Even the action sequences are pretty much by the numbers this time.
  88. Save your money and wait for the new 3-D version of the 1939 classic that Warner Bros. has promised for later this year.
  89. Most are exercises in sickening bad taste, with an emphasis on human bodily functions. The biggest stinkers? “T Is for Toilet” and “F Is for Fart.”
  90. There was a time when the climate-change alarmist movement was like a guy with a megaphone at your ear, but now it’s more like a squirrel at your shoelaces.
  91. Clip hurts your eyes, but if it’s supposed to hurt your heart, it misses the mark.
  92. The joke is on arthouse audiences who show up for Funny Games, which is basically torture porn every bit as manipulative and reprehensible as "Hostel," even if it's tricked out with intellectual pretension.
  93. I’d like to take back all those times I said Nicolas Cage was one of the most annoying actors on film. It turns out he’s equally terrible when he’s only on the soundtrack. And yet Cage is the least of the problems with The Croods.
  94. It’s not a documentary, it isn’t entertainment, and aside from Chung’s intelligent, dignified performance, this sure as heck isn’t art.
  95. A long, tedious and often unintentionally hilarious adaptation of Stephenie Meyer’s sci-fi follow-up.
  96. Though it tries — with a much too heavy hand — the new Evil Dead is far less humorous than its predecessor.
  97. A preposterous supernatural thriller that inexplicably managed to sign up Julianne Moore to star.
  98. As far as I’m concerned, death couldn’t arrive quickly enough for these eight stereotypically self-absorbed Los Angelenos gathered for Sunday brunch at which the hosts (Blaise Miller, Erinn Hayes) plan to announce the demise of their marriage.
  99. This is a horror movie that’s really a supposed comedy; she’s (Lohan) a supposed comedy actress who’s actually scary.
  100. Seidl sternly rejects nuance. All the women are crude and insensitive, all the men are desperate and exploited. Despite copious full-frontal nudity, it’s an unrelievedly puritanical and didactic film.
  101. Just because two people are miserable doesn’t mean they’re interesting.
  102. A weird mash-up of disaster, horror and dystopia genre pictures, Aftershock fails to make the Earth move.
  103. The terrorism thriller Java Heat sure is violent. I don’t even want to tell you how viciously Mickey Rourke mangles the French accent he’s trying to do.
  104. At least there is a happy ending — DeChristopher, for wasting the government’s resources, properly served 21 months in federal prison. Now, he has moved on to Harvard Divinity School, where his sanctimony will serve him well.
  105. Eckhart’s another matter. He’s adequate, but there is something about his raspy voice and WASPy body language that’s more in tune with being the bad guy at the board meeting than the hero racing through the train station.
  106. It is a remarkably unattractive-looking movie. I don’t know when people voted that the seasick look of an iPhone video is now a desirable style.
  107. Basically, this is Smith and his real-life son, Jaden (both affecting ridiculous mid-Atlantic accents) talking the audience to death for something like 90 minutes before the closing credits.
  108. It seems more likely that a dumb movie will lead only to a time-wasting surge in applications from dummies. Maybe The Internship was secretly funded by Bing.
  109. A dull drama about domestic squabbling that hopes to be mistaken for a thriller.
  110. Though darker elements loom in the shadows, nothing in this painfully sincere film is remotely affecting; just think of it as “My So-Called Strife.”
  111. Set in the drab suburbs of Paris, The Stroller Strategy doesn’t even offer pretty backdrops.
  112. Will there be a “Hatchet IV’’? I shudder to think about it.
  113. In Vehicle 19, Paul Walker is back behind the wheel again, but this time it’s a rented minivan and the plot is brainless even for a Paul Walker movie. Get ready for “The Slow and the Spurious.”
  114. Neil Jordan’s Byzantium dares to rework “Twilight” with twice the teen moping and Robert Pattinson replaced by a guy with the sexual magnetism of a sickly Ron Weasley.
  115. The sad truth is these durable 80-year-old characters, who peaked with a 1950s TV series, never even come to life in this bloated, misshapen mess, a stillborn franchise loaded with metaphors for its feeble attempts to amuse, excite and entertain.
  116. How bad could the boneyard be compared to sitting through this execrable piece of non-entertainment? Better dead than RED 2.
  117. Even for a mumblecore film, Computer Chess is weak stuff, a punitively dull chunk of quirk that is about, and feels like, being stuck in a motel with a gaggle of programming nerds for a weekend.
  118. I only laughed once, and it was when Whit Stillman made a cameo to be snubbed by the newly self-actualized Imogene. But it was mostly in disbelief; pretentious or not, Stillman represents a caliber of smart writing that’s wholly absent from Girl Most Likely.
  119. The innovation of Refn’s latest is mostly just in the way it manages to merge gory and boring. At least it’s created a new movie adjective for me: goring.
  120. First Comes Love seems punishingly long. It’s no more visually arresting than anybody else’s home movies, and the film’s creator fails to connect her subset of Manhattan privilege to anyone or anything other than herself.
  121. The pretentious and unrelievedly glum first feature from music-video and advertising director Nenad Cicin-Sain, The Time Being looks sharp, but it’s about as dramatically satisfying as watching paint dry.
  122. It’s a scrappy, unpretentious movie, with nicely calibrated pacing, but there’s no logic, little motivation and above all, no personalities.
  123. In the ’80s, I hated Ronald Reagan, Bob Dylan and the Smurfs. It’s comforting to know I got one thing right.
  124. The movie, directed by the formerly promising Rawson Marshall Thurber (the hilarious “Dodgeball” and the awful “The Mysteries of Pittsburgh”), thinks it’s subverting the conventions of the sitcom with a revolutionary new idea, which is: Do everything exactly the way a sitcom would, plus lots of swearing and dirty jokes.
  125. Like some hybrid beast out of Greek mythology, this young-adult sequel has the body of a “Harry Potter,” the head of a “Twilight,” the feet of a “Hunger Games” and the tail, oddly, of a “Raiders of the Lost Ark.”
  126. A movie about bisexuals sounds fresh and fun on paper, but a sensitive acoustic song under the opening credits shows exactly where The Happy Sad is going. Deadly earnestness and sex don’t mix well at the movies.
  127. The Mortal Instruments: City of Bones hopes to be the start of a new franchise for tweens and Twihards, but the twuth is this twash is anything but a twiumph.
  128. Director Annette Haywood-Carter films the proceedings with a sepia-tinged prettiness, but this is a Southern “Downton Abbey,” minus the loopy plot turns and wisecracks that make that series so addictive.
  129. Dull yet contrived drama.
  130. Nothing in this movie would actually happen, so what’s irritating is that it presents itself as a savvy, “Am I right, ladies?” dating commentary.
  131. Whelk, I hope the makers of Cloudy With a Chance of Meatballs earned a nice celery, but I’m afraid they made a hash of things. A hash seasoned with oy sauce.
  132. Remember when Robert De Niro was an interesting actor? These days his talent, like his character in The Family, is in the witness protection program, never to be seen again.
  133. At the start of Insidious 2, a young woman opens her mouth to speak and someone else’s voice comes out of her. Demonic possession? Nope, just some inexplicable dubbing to kick off this clunker of a horror sequel.
  134. This comedy is cringe-inducingly lame and the dramatic turns are visible as far in advance as utility poles on the prairie.
  135. Director Anthony Leonardi, in his feature debut, litters the film with inconsistencies.
  136. A contrived comedy that could have made an especially weak episode of “Everybody Loves Raymond.”
  137. The most distressing bad choice in CBGB, a movie entirely composed from them, is that those brilliant songs are repurposed studio recordings.
  138. Drifts awkwardly between popcorn entertainment and angsty mood piece.
  139. Hollywood’s ongoing campaign to remake every horror movie of the 1970s and ’80s has finally caught up with the Stephen King-Brian De Palma classic “Carrie,’’ and the results are distressingly anemic, pig blood and all.
  140. Hire “Dreamgirls” director Bill Condon to tell the story of Julian Assange and WikiLeaks? Sure, and next let’s hear from Lady Gaga on the Higgs boson particle.
  141. Juliette Binoche, as Claudel, is occasionally touching, but as soon as interest flares, the movie suffocates it via endless takes of her suffering through daily chores.
  142. This overlong drama plays like a threefold infomercial: for Christianity, the cheesy resort chain Sandals and Jeff “Ja Rule” Atkins, the rapper-turned-actor playing drug kingpin Miles Montego.
  143. This whole movie is pretty much a mental colon blow.
  144. Like “Traffic’’ on a massive dose of downers, Ridley Scott’s The Counselor is a great-looking and star-filled but lethally pretentious, talky, lethargic drama.
  145. The schmaltzy Diana is directed at a dirge-like pace by German director Oliver Hirschbiegel, whose film “Downfall’’ depicted the final days of Hitler and provided one of the Internet’s most enduring memes.
  146. With Philomena, British producer-writer-star Steve Coogan and director Stephen Frears hit double blackjack, finding a true-life tale that would enable them to simultaneously attack Catholics and Republicans. There’s no other purpose to the movie, so if 90 minutes of organized hate brings you joy, go and buy your ticket now.
  147. Tiresome cavalcade of bickering — which feels like it lasts even longer than your typical Thanksgiving dinner.
  148. The movie is essentially a theater piece in which Nolan (Walker) is mostly alone on screen, making use of what he finds a la John McClane, but without the smart pacing or inventiveness of “Die Hard.”
  149. Minus its smirky twist ending, it’d make perfect material for New York’s new “That’s Abuse” domestic violence awareness campaign.
  150. Even the audience at whom the movie is aimed — the crowd for whom dinner and a movie means meeting up at 3 p.m. — will be bored by the stale funk coming off every scene.
  151. It’s unspeakably depressing to see Anna Paquin playing the mom (of a teenager!), but the pointlessness and mediocrity of the Paquin-produced Free Ride is even more depressing.
  152. A film so self-serious that it demands to be remade as a Seth MacFarlane farce, The Truth About Emanuel mixes the ludicrous and the pretentious in a story about mommy issues gone wild.
  153. Ride Along tries to be a comic version of “Training Day,” only there’s nothing in it as funny as Denzel razzing Ethan. There’s nothing much funny in it at all.
  154. A clunky movie that feels as if it’s underwritten by the Roman Catholic Church.
  155. A dismal rom-com for dudes that makes the average beer commercial look nuanced and plot-heavy.
  156. Del Toro overdoes the anguish to the point of looking like he’s playing advanced constipation, and the film, by France’s Arnaud Desplechin, gets stuck in an endless series of therapy scenes built around cheesy re-enactments of Jimmy P’s dreams.
  157. Endlessly lame.
  158. Basically a much schmaltzier fantasy version of “Love Story.’’
  159. Your average episode of “Days of Our Lives” is less soapy (and performed with more restraint).
  160. Besson provided the story and co-wrote the screenplay for a film directed by McG, who does his usual McGhastly job with action and is McGruesome when it comes to comedy.
  161. With any luck, this’ll be the death knell of the idiot-savant rom-com.
  162. This blathery, misogynist indie from first-time director David Grovic — which seems to be aiming for “Pulp Fiction” territory with its blend of crime, banter and the mysterious contents of a bag — falls far short, rife as it is with noir and gender clichés.
  163. All the tedium of an endless trans-Atlantic flight gets packed into the 105 minutes of Non-Stop.
  164. Yelchin is an immensely likable actor who does what he can, but his charm isn’t enough to save this awkwardly worded — and paced — wannabe thriller.
  165. There is virtually nothing in Mac Carter’s horror flick that deviates from the standard haunted house plot (or, in this case, plod).
  166. It largely consists of Franco musing about depictions of homosexual activity on film. As well as gay cast members speculating whether Franco will take off his clothes and perform in explicit footage. He doesn’t.
  167. A movie so pathetically lame that hopefully even Spears most ardent young fans will give this stinker a big thumbs down.
  168. How do you inject life into a film whose central character is dull, slow, stupid and grim?If you're Arnaud Desplechin, you don't.
  169. Every possible film student visual clich&#233; (plus quite a few from the world of music video) gets a thorough workout.
  170. Epic waste of celluloid.
  171. A strong, early candidate for the worst movie of the year.
    • 75 Metascore
    • 12 Critic Score
    If bluegrass were as static and dull as this concert film indicates, Nashville would have hustled all the hillbillies back to the Smokies long ago.
  172. Contains much more prosaic ingredients. Like props and sound effects that could have been borrowed from an off-off-Broadway play, a host of painfully strained performances and a plot that's almost unbearably stupid.
  173. It's so painful to sit through you eventually stop feeling sorry for the floundering cast.
  174. Don't even think of visiting this French fiasco.
  175. A confusing mishmash.
  176. Amazingly amateurish, the film lands wide of satirical targets that should be impossible to miss.
  177. Calling it pretentious doesn't do justice to the toxic faux-bohemianism and unearned self-regard that bubble and ooze out of every aspect of Chelsea Walls.
  178. Shapeless, tedious, hopelessly bad sequel.
  179. A creepy, depressing and leering "comedy" that's a virtual collection of "What were they thinking?" moments.
  180. One bad movie -- in the original sense of the word.
  181. A skin-crawlingly unfunny riff on Woody Allen's "Bananas."
  182. Laughs are few and far between, and the film feels brutally long.
  183. More prettily photographed pretentious rubbish from the ridiculous Peter Greenaway.
  184. This would be a stultifyingly incestuous affair even if all the jokes about fertilization weren't so tiresomely lame and predictable.
  185. Kicks off with an inauspicious premise, mopes through a dreary tract of virtually plotless meanderings and then ends with a whimper.
  186. This time out, Broomfield comes up with maybe enough halfway decent material for a 10-minute segment on a second-rate tabloid TV show.
  187. Summer Catch is the sludge at the bottom of the barrel.
  188. The only feeling the character seems capable of is lust -- and when he hits on the male nurse looking after his newborn baby in the hospital, this hollow, unfunny "comedy" moves from merely tedious to nasty.
  189. Stinko movies often unwittingly critique themselves -- and the brain-dead romantic comedy Down to You (which Miramax understandably didn't screen in advance for critics) is no exception.
  190. An inept, tedious spoof of '70s kung fu pictures, it contains almost enough chuckles for a three-minute sketch, and no more.
  191. Kicks off as a cheap piece of retro schlock and quickly devolves into a putrid bloodbath with a thin narrative made utterly indecipherable by the first-time director's clueless approach to filmmaking.
  192. Unfathomable balderdash.
  193. A low-end scam by Lions Gate Films -- whose recent "The Wash" was a masterpiece by comparison.
  194. The cheap-looking special effects, embarrassingly clunky attempts at humor and one-dimensional characters are bad enough, but the PG-rated movie's most offensive crime is its uncomfortably lewd interactions between adults and kids.
  195. An unholy mess.
  196. Amateurish, irritatingly gabby indie.
  197. It reeks of contempt for the audience. This is not just a "B-movie" -- it's a B-movie that fails to entertain on any level.
  198. As if the witless cultural stereotypes weren't bad enough, misogyny is rampant -- bare-breasted women abound, yet the protagonist remains fully clothed while having a bullet removed from his butt.
  199. The family at the center of "Catch" is likable and authentic, but the seriousness of their plight sits uneasily with the shoddily assembled escapist goof it generates.
http://www.metacritic.com/publication/new-york-post?filter=movies&num_items=30&sort_options=critic_score&dist=neutral&page=199
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