New Orleans Times-Picayune's Scores

  • Movies
For 676 reviews, this publication has graded:
  • 46% higher than the average critic
  • 2% same as the average critic
  • 52% lower than the average critic
On average, this publication grades 0.3 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Boyhood
Lowest review score: 20 Grown Ups 2
Score distribution:
  1. Negative: 45 out of 676
676 movie reviews
  1. At worst, though, the film's faintly sleazy bait-and-switch tactic robs the film of its biggest asset -- its sense of fun.
  2. 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.
  3. 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.
  4. 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.
  5. It's no "Das Boot," but Battleship is a boatload of popcorny fun.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. Like the character at its center, Wein's film suffers from a certain sense of inertia, which is where Gerwig comes in.
  11. Ted
    Unapologetically raw -- and very funny.
  12. The problem is that the film must re-establish a great deal of mythology, much of which is already familiar to most moviegoers. Unfortunately, Webb's film never quite makes usshake the feeling that we've done all this before.
  13. While you're watching it, it is cozy and enjoyable, the same way a sleeping cat in your lap is cozy and enjoyable.
  14. Doesn't rise as much as it flounders and frustrates, in what would appear to be a case of a filmmaker prioritizing ego over efficiency, and engaging in generally muddled storytelling.
  15. Seizing the role, and the screen, Gelber actually makes us care what happens to his surly, thoroughly unlikable character.
  16. Director David Bowers' story is straightforwardly -- almost unimaginatively -- approached. But, armed with a talented cast and Kinney's chuckle-generating source material, it functions nicely as a sort of big-screen "Wonder Years" for Millennials.
  17. Billed as a dramatic comedy, and it lives up to that billing, even if it tends more toward chuckles than guffaws. In other words, one thing it's not is "It's Complicated," Streep's previous -- and often riotous -- relationship dramedy.
  18. Gilroy -- who earned writing credits on all four "Bourne" films -- doesn't miss when it comes to the most important task at hand: He takes a well-worn concept and makes it feel new, and without sacrificing its sense of familiarity.
  19. No, it's not a perfect movie, given how dangerously close it comes to running out of quality third-act punchlines before you're liable to have run out of Sno-caps and Raisinettes. Also, some of the biggest names in the supporting cast -- John Lithgow and Dan Aykroyd, specifically -- are all but wasted.
  20. A solidly entertaining and largely engaging film that, even with its faults, functions as a singular -- albeit melancholy -- tribute to a tragic American icon.
  21. Hit and Run achieves its chief goal: to put the pedal to the metal for some good, goofy fun, squealing the tires as often as possible along the way.
  22. Is Premium Rush a two-wheeled "French Connection"? No, not by a long shot. (Although it does include a racing-beneath-the-el-train homage.) But when it comes to lightweight, synapse-free action fare, Premium Rush delivers.
  23. Suffers through the occasional lull, but those would be much easier to forgive if they didn't also generate frequent false moments that threaten to take viewers out of the movie.
  24. There's a good reason why the true-crime film The Imposter is a documentary: If someone tried to pass off this bizarre Texas tale as fiction, nobody would believe it.
  25. What Anderson's talky and willfully opaque film doesn't have, however, is an unfailingly compelling story to tell.
  26. Ends up being the kind of movie we don't see a whole lot anymore: an emotionally grounded and quietly meaningful crowd-pleaser that functions as a lovely antidote to the recently ended summer blockbuster season.
  27. The music, of course, is the engine that makes the whole exercise go, tapping into a genre-spanning collection of tunes, but every bit as important to the film's success is its unexpected humor, which flirts with raunchy but stops juuuust short of crossing any lines that would have earned it an R rating.
  28. The result is an artist profile that doesn't feel like the standard, stuffy artist profile. Instead, Beauty is Embarrassing is an entertaining whimsy that, like White, never takes itself too seriously, doesn't overstay its welcome and never, ever underestimates the value of a chuckle.
  29. The resulting slowdown, as well as a significant narrative shift, gives Looper a slightly sprawling and ungrounded feel at times, almost as if the first and second halves are two separate movies.
  30. John C. Reilly provides the voice of Ralph, and he's every bit as good as you'd expect in the role. It's Sarah Silverman, however, as his unlikely sidekick, and rescue subject, whose considerable charm threatens to steal the show.

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