New Orleans Times-Picayune's Scores

  • Movies
For 778 reviews, this publication has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 0.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Fruitvale Station
Lowest review score: 20 Think Like a Man Too
Score distribution:
  1. Negative: 47 out of 778
778 movie reviews
  1. If not for the "Fast and Furious" franchise, Need for Speed probably wouldn't exist outside of the video game series that inspired it.
  2. With no real beginning and no real ending, the unsatisfying "Mockingjay Part 1" is essentially all middle -- one big, stretched out, watered-down second act. The result is a handsome film, but also a talky one that takes a while to hit its storytelling stride and that, once there, repeatedly stalls to fill time.
  3. The result is a film that is engrossing for stretches, that will raise your hackles -- and maybe the hair on the back of your neck -- especially if you believe in the vital role journalism plays in a free society. At the same time, though, it also feels a bit like a by-the-numbers affair.
  4. I wouldn't expect many people to remember Cold in July come September, when the movie-award season gets underway. But as a guilty-pleasure May release? You could do far worse.
  5. It won't stick to your ribs in the way, say, a shank will -- but it probably won't leave you looking for a way to escape the theater, either.
  6. What the Duplasses end up with is a film that is amusing at times, a touch repetitive at others, but one that never quite shakes the feeling that it is something of an unfinished thought. And perhaps something they've also grown beyond.
  7. While The Last Five Years isn't a bad movie, neither does it fall into the "must-see" category.
  8. Never coalesces into anything memorable, much less meaningful.
  9. The Best of Me is full-on Nicholas Sparks, through and through, checking all the boxes in the by-now well-established formula. It's just not the best of Nicholas Sparks.
    • 51 Metascore
    • 40 Critic Score
    Dialogue is often stilted (and fraught with unlikely outbursts of speechifying) and the ending hardly soars, but Cook, a near-ringer for the young Winona Ryder, has a shyly appealing personality and O'Keefe makes a villainess you'll love to hiss. [29 Jan 1999, p.L24]
    • New Orleans Times-Picayune
  10. Lacks any real sense of vitality. And no matter how worthwhile a film's message is, it's difficult for audiences to care if the path to the payoff so often feels like a slog.
  11. One only wishes that Ewing and Grady had chosen to dig deeper as they explored it.
  12. The problem is, Draft Day doesn't really capture that sense of urgency until late in the film.
  13. Even with that pedigree, Ponsoldt's film doesn't snap and sizzle as much as it just lays there, leaving moviegoers who haven't been converted to the Wallace cult to long for the end of this particular "Tour."
  14. What Monsters University fails to do, though, is to scare up any real emotion.
  15. It's that end -- the film's final sobering five minutes -- in which Blue Jasmine is at its most effective. Credit is due there to Blanchett's table-setting performance in it and in the hour and half preceding it. It's also due to the courage Allen displays as a storyteller in ending this particular story in the way it has to end.
  16. There are lulls to be had here, but there is a smattering of laughs, too -- and some pretty good ones, at that. If, that is, you'll give yourself permission to laugh at Wayans and company's lowest-common-denominator antics.
  17. More seriously -- and substantively -- "A Late Quartet" was a quiet but thoughtful meditation on the power, and the necessary pain, of human connections. By comparison, Quartet is a flimsy bit of cinematic puffery that takes every obvious path on its way to its even more obvious "seize-the-day" message.
  18. So we get no zippy, Tony Stark-flavored one-liners. No comic-relief characters. No nonsense. But that means we also get no up, up and away, either.
  19. New Orleans makes for a distinctive backdrop, but that's really all just window dressing, and it goes only so far in covering the fact that The Runner -- from its moody, electric-guitar-driven score to its faintly 1990s, Grisham-flavored sensibilities -- runs out of narrative inspiration before it crosses the finish line.
  20. Its smattering of enjoyable moments aside, this is one of those horror films that will beg to be remade -- just smarter -- once this initial outing fades into the memories of moviegoers.
  21. There's no sense of pacing here, as would be the case in a single feature-length narrative in which a wise filmmaker would vary the intensity level. Instead, what we get is a ceaseless visual and emotional assault. That makes for an exhausting movie-going experience. This is by no means a feel-good film. This is a feel-bad film -- and at times a feel-icky film.
  22. The result is a film with a scattered feel. That's particularly true in the film's rushed third act, as it skips around all herky-jerky, cramming in resolutions to the various conflicts but never quite giving any of them adequate time to gel.
  23. Thoroughly, and disappointingly, pedestrian.
  24. For a movie like this to last, you've got to have a certain amount of pathos to serve as connective tissue between those jokes. That's where Sisters is most lacking.
  25. Beautiful Creatures is still an unabashed imitator, hewing closely to the "Twilight" blueprint. Some might go so far as to call it a blatant ripoff, as the differences between the two are cosmetic at best.
  26. Never elevated beyond much more than mere presidential puffery.
  27. At some point, Lee as a storyteller must step in to move things along, to dig the rudder deep into the narrative waters and steer this ship. The destination is almost irrelevant - just steer it somewhere.
  28. Part 2 really is a continuation of "Part 1," both from a story standpoint and from an artistic standpoint.
  29. There's no "place" in this place, no clear destination -- and no real payoff in a film that stands a cinematic curiosity but little more.

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