New Orleans Times-Picayune's Scores

  • Movies
For 840 reviews, this publication has graded:
  • 43% higher than the average critic
  • 2% same as the average critic
  • 55% lower than the average critic
On average, this publication grades 0.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Gleason
Lowest review score: 20 Funeral Kings
Score distribution:
  1. Negative: 51 out of 840
840 movie reviews
  1. Trumbo isn't monotonous, but it falls short of genius.
  2. Straight Outta Compton doesn't shy entirely from the uglier side of the N.W.A. story, including the claims that their music and their lifestyles glorified thug life, perpetuated gun violence, advocated drug use and reveled in misogyny. Instead, Gray's film owns it.
  3. It's a difficult watch, with its scenes of robbery, rape, murder and assorted other personal assaults, as well as a downright agonizing portrayal of an abortion procedure. This is not a story of hope or of redemption. It is a story of cruelty and despair.
  4. What Anderson's talky and willfully opaque film doesn't have, however, is an unfailingly compelling story to tell.
  5. It's an uplifting, even enchanting, smile-inducer.
  6. 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.
  7. At worst, though, the film's faintly sleazy bait-and-switch tactic robs the film of its biggest asset -- its sense of fun.
  8. Thanks to Rochefort and Folch, as well as Trueba's delicate direction, it still manages to be an embraceable journey, one with its own quiet -- and artistic -- rewards.
  9. One gets the feeling that Thompson left a lot on the table with The Jeffrey Dahmer Files, that it could have been something more, something bigger, something elaborate. And that may be true. But the film that Thompson did choose to make - one that is both simple but effective -- is fascinating in its own right.
  10. 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.
  11. Seizing the role, and the screen, Gelber actually makes us care what happens to his surly, thoroughly unlikable character.
  12. The result is a satisfyingly gritty tale, more grounded in reality than many entries in the franchise.
  13. While Bopha's belatedly tragic story is an affecting one - and is made all the more poignant by strong performances by Woodard and Eziashi - it will not seem entirely fresh to movie-goers weaned on such superior cinematic treatments of the subject as Chris Menges' "A World Apart" and Euzhan Palcy's "A Dry White Season." [29 Oct 1993, p.L25]
    • New Orleans Times-Picayune
  14. An unapologetic B-movie, Dylan Dog: Dead of Night tries mightily to cover its flaws with a peppering of humor -- much of it supplied courtesy of Dylan's zombie sidekick, played by Sam Huntington -- and an at-times fun "Buffy the Vampire Hunter" vibe.
  15. What we're left with is a thoroughly mediocre, shrug-generating disappointment -- and one that certainly doesn't feel like it should have cost more than a third of a billion dollars to make and market.
  16. Rather than "Greased Lightning," we get a holding pattern -- which is better than a crash-landing, but still ...
  17. She could stand to learn a lesson herself, from another magical governess -- you know, the one about the spoon full of sugar.
  18. There are entertaining moments along the way, and some likeable characters.
  19. The ending of Dear John feels manufactured and patently false. Seyfried tries to sell it, but you can tell that she's having a hard time believing the words coming out of her mouth.
  20. This latest enterprise - 70-odd minutes of purposeful navel-gazing directed by Steven Soderbergh - isn't quite as searching or provocative as Gray's prior big-screen outings, "Swimming to Cambodia" and "Monster In a Box." [16 May 1997, p.L25]
    • New Orleans Times-Picayune
  21. More than just corny. Eclipse is boring.
  22. An uneven story that tries too hard to be meaningful and not hard enough to be funny.
  23. Parnassus is a cold film that delights in dancing along that fine line separating "fantastical" and "nonsensical." Then, when a movie is supposed to hit things home -- in that all-important third act -- it lands with a thud on the wrong side.
  24. Normally a reliable screenwriter, Sayles probably gives his audience too much credit with regard to its knowledge of what is one of the lesser-known chapters in America's military history. As a result, even with its modern parallels, Amigo makes for dense, slow-going viewing.
  25. It's not really a Disney film. Rather, this is a product of Starz Animation. It's a key distinction, because -- well, because Starz Animation is no Disney, and it's certainly no Pixar. It proves that here.
  26. McDonald's film never really finds its footing -- and The Eagle never takes flight.
  27. As well-intended as it is, writer-director Max Mayer's film lacks focus.
  28. This is even worse than a repetitive rehash. These "Fockers" are just lazy, limp -- and lame.
  29. While this nouveau Fright Night does a reasonable job of maintaining the fun spirit of the original film, between the blood splatters and vamp stakings, it never builds on what the original had to offer -- and thus never quite makes a convincing case for its own existence.
  30. A better title: "Coco Before She Was Interesting."

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