New Orleans Times-Picayune's Scores

  • Movies
For 706 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 0.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 A Single Man
Lowest review score: 20 Think Like a Man Too
Score distribution:
  1. Negative: 46 out of 706
706 movie reviews
  1. There's a soothing catharsis in the idea that good guys are every bit as capable as bad guys of raining hellfire down on their enemies.
  2. Ends up being an enjoyable, if only marginally memorable, ride.
  3. 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.
  4. Boxtrolls stands reasonably well on its own, as a cool steampunk fairy-tale that serves as yet another testament to the artistry of the folks at Laika.
  5. Still, there's more here to like than to dislike in what ends up being a feel-good movie about a feel-bad topic, a la "Little Miss Sunshine."
  6. A sleight-of-hand heist film that feels like a cross between David Blaine and "Ocean's Eleven," with a little Robin Hood thrown in, it's a ripping bit of fun. If, that is, you let it be.
  7. The result is a hoot, as Nelson breathes comic life into the proceedings with an effortless, unselfconscious joie de vivre.
  8. Starred Up isn't just violence for violence's sake. Rather, it is a surprisingly layered, hard-hitting human drama, one that cuts to the bone -- albeit with a homemade prison knife.
  9. As glossy and well-produced as Unbroken is, it doesn't stray too terribly far from Hollywood convention. In fact, its very story structure is so traditional that it's mirrored by Clint Eastwood's "American Sniper."
  10. An uneven but consistently compelling film that, with its roots in the horrors of World War II, generated no small amount of controversy in its native Poland when it was released there in 2012.
  11. 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.
  12. With all of its excess, Wolf of Wall Street might not rank up there with Scorsese's best, it sure has fun trying.
  13. 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.
  14. The sky is far from falling on the Bond franchise. In fact, it is as good as it has ever been. What's more, Craig is reportedly on board for at least two more outings, so Q had better get to work on those bifocals because 007 is no where near ready for retirement.
  15. Director Daniel Barnz's soft-play indie drama is a compassionate but emotionally raw film, one that traffics in such thoughtful ideas as personal redemption and emotional resurrection.
  16. Like the character at its center, Wein's film suffers from a certain sense of inertia, which is where Gerwig comes in.
  17. These characters are so compelling that their stories are easy to get caught up in. As with "A Separation," Farhadi's drama never strikes a resoundingly false note -- which is a precious thing in movies lately -- and as such is a film that promises moving rewards.
  18. In fact, "restraint" is the word that best characterizes DuVernay's film. This isn't a movie filled with overt action or outbursts of melodrama.
  19. The result is a feel-good, family-friendly trip film that promises drama, suspense, humor and -- in a rarity for sports dramas -- no small amount of modern relevance.
  20. Director Klay Hall's embraceable, overachieving romp plays nicely as a big-screen feature.
  21. It's a theme Mary Shelley brought us in "Frankenstein," which was first published in 1818. That was almost 200 years ago. And while Ex Machina replaces the stitches and neck bolts with gears and fiber-optics, it all feels an awful lot like the same story.
  22. It's not a film for everyone. Those who see it, however, will have trouble forgetting it.
  23. The ultimate goal of a film like this, of course, is to change minds. As compelling a case as it builds, Promised Land isn't quite persuasive enough to be able to promise to do that.
    • 82 Metascore
    • 60 Critic Score
    The Dardenne brothers keep dialogue to a minimum but create strongly defined characters by letting their cameras linger on their actors' expressive faces. Their cast works small wonders with this extra-verbal strategy, and by the time the film's stunningly simple finale arrives, it seems both inevitable and marvelously serendipitous. [21 Nov. 1997, p.L34]
    • New Orleans Times-Picayune
  24. 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.
  25. So does the film succeed, overall? On some levels. But if all you want is a guilt-free, sci-fi summer pleasure, save your money and wait another week. The crew of the Enterprise is on its way.
  26. 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.
  27. 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.
  28. An enchantment, plain and simple. And while it won't make many forget Disney's iconic animated version, it certainly joins it as one of the more enjoyable re-tellings of this classic tale.
  29. That's a lot of storytelling going on, and it costs Battle of the Five Armies a certain cohesion.

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