New Orleans Times-Picayune's Scores

  • Movies
For 632 reviews, this publication has graded:
  • 48% higher than the average critic
  • 2% same as the average critic
  • 50% lower than the average critic
On average, this publication grades 0.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Moonrise Kingdom
Lowest review score: 20 Grown Ups 2
Score distribution:
  1. Negative: 44 out of 632
632 movie reviews
  1. It's not a perfect film, mind you. It's too long by a quarter, and actor-turned-director Charles Martin Smith ("The Untouchables") lets any sense of real structure slip away in the film's crowded third act.
  2. Along the way, Shut Up, Little Man boasts nice technical elements. And it is, admittedly, amusing to a degree. Peter and Raymond certainly know how to turn a phrase. But things begin to wear thin about halfway through.
  3. As clearly calculated and self-consciously cutesy as it is, it's also tender and meaningful stuff -- and far more watchable than other recent attempts to capture the existential angst of adolescence. ("The Art of Getting By.")
  4. Plotwise, though, Brewer's Footloose is anything but loose. In fact, it's rigidly loyal to the original, to the point of slavishness.
  5. Intermittently interesting, but well-intentioned, it almost makes up for "The Tourist."
  6. So while J. Edgar ends up feeling like a mostly complete portrait of the man, and as fascinating a story as it is, it still falls just short of being something entirely memorable.
  7. The quietly moving drama Martha Marcy May Marlene must be thought of as an "arrival" film. That is, for all that it has going for it (and, it must be said, against it), if it is remembered for anything it will be for introducing a 22-year-old newcomer named Elizabeth Olsen.
  8. There's plenty of melodrama, plenty of whispered intensity, plenty of dramatic pauses in his story. There also are a few bizarro -- and, in some cases, unnecessary -- detours. But when it's all said and done, there's no real call for any emotional investment on the part of his audience.
  9. What most saw as entirely charming behavior others saw as a nuisance. After all, a playful whale has a way of unwittingly damaging rudders and outriggers and outboard motors and such. Worse, wildlife officials saw Luna's behavior as potentially dangerous, for the people he encountered -- and for the whale himself.
  10. All of the pieces fall into place by the third act -- or most of them, anyway. But Tinker, Tailor, Soldier, Spy is such a cold, unemotional film that getting there is a chore, muting the payoff.
  11. What we're left with is a movie that is about as nourishing as the Junior Mints and nachos available at the theater snack bar. But, then, many a Friday night dinner has been made of far less.
  12. All along, though, I was struck by an even stronger feeling, that I was sitting in on somebody else's therapy session. That's not a comfortable feeling -- and that makes Extremely Loud & Incredibly Close considerably less rewarding than it should be.
  13. There isn't a whole lot of nuance in writer-director Rachid Bouchareb's unapologetically political movie. As such, it doesn't take much brainpower for a viewer to stay a step or two ahead of his plot the entire way.
  14. What Kwapis does do, however, is nicely handle the film's whale of an emotional payoff.
  15. It's easy to be interested in the characters' lives -- as tragic as they are -- but it's not nearly as easy to become emotionally invested in them.
  16. That's not to say it's a bad film, necessarily. It's just not as good as it could have -- and should have -- been.
  17. That's some admirably mature stuff for a kid's flick in this day of rampant pandering, but it also helps rob the film of a certain breathless, edge-of-your-seat appeal. In other words, there are lulls here.
  18. While Pina will undoubtedly be well-received by modern-dance devotees, it does little to take advantage of the enormous opportunity to open the door for newcomers.
  19. There are plenty of entertaining moments to latch onto beneath the sci-fi tropes -- and maybe even a few that will inspire a new generation of storytellers.
  20. Unlike most enforcers in the movies, Jacky isn't just a brainless slab of meat.
  21. It's an uplifting, even enchanting, smile-inducer.
  22. At worst, though, the film's faintly sleazy bait-and-switch tactic robs the film of its biggest asset -- its sense of fun.
  23. The surrealist and decidedly bizarre humor of Tim Heidecker and Eric Wareheim is, to put it mildly, an acquired taste -- and there's no guarantee you'll ever actually acquire it.
  24. This is a movie to be experienced on a more visceral level. As long as you don't expect anything more, you won't be disappointed.
  25. They're fascinating characters, to be sure, with back stories ripe for development. But Whedon doesn't commit here, and the results are shrug-worthy.
  26. It's no "Das Boot," but Battleship is a boatload of popcorny fun.
  27. An uplifting and colorful crowd-pleaser, it's built on a wealth of cinematic contrivances -- all designed to make sure things, indeed, turn out all right in the end -- but the result is just too good-natured to begrudge.
  28. The good news: This is Goldthwait the writer-director, not Goldthwait the actor -- so there's no schticky voice to endure. But his exceedingly black comedy does speak loudly -- and it turns out he's actually got something worthwhile to say.
  29. Some summer movies are big, woofing mastiffs. (Think "Battleship.") Others are naughty, nipping lapdogs. ("The Dictator.") Here, what we get is a calm, quiet basset hound. And, for the most part, it's a good dog.
  30. The joy of Hysteria, like the joy of certain other things, isn't necessarily rooted in the element of surprise. Rather, it's in the pleasure of the path taken to get to that crescendo.

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