New Orleans Times-Picayune's Scores

  • Movies
For 877 reviews, this publication has graded:
  • 42% higher than the average critic
  • 2% same as the average critic
  • 56% lower than the average critic
On average, this publication grades 1.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 The Grand Budapest Hotel
Lowest review score: 20 Think Like a Man Too
Score distribution:
  1. Negative: 54 out of 877
877 movie reviews
  1. It is an inspiring, well-assembled portrait of one man's love for his autistic 6-year-old son and the measures he's willing to go to help the boy -- and the family -- cope with his neurological challenges.
  2. Writer-director Markus Schleinzer's exceedingly dark drama -- guaranteed to make audiences squirm in their seats -- is emotionally unsettling.
  3. Niccol's film won't likely achieve the high-flying box-office success of "Top Gun," but it is similar to that 1986 film in that it will likely get people talking after the closing credits roll.
  4. It's a lovely bit of blood-pressure-lowering cinema that never betrays its simple conceit.
  5. A solidly entertaining and largely engaging film that, even with its faults, functions as a singular -- albeit melancholy -- tribute to a tragic American icon.
  6. That's no small thing: to leave viewers with unanswered questions but still make them satisfied they've gotten a full movie experience. But there it is.
  7. While you're watching it, it is cozy and enjoyable, the same way a sleeping cat in your lap is cozy and enjoyable.
  8. Yes, there are higher-profile films out there this year, and there are films with more resonant messages. But there are few that include so many captivating performances in such an involving story.
  9. While Pitch Perfect 2 feels like it leaves much on the table, that'll be plenty good enough to give its fans something to sing about -- until the inevitable "Pitch Perfect 3."
  10. What the Cairns brothers have created is something rare for a horror film: Not only does it get the job done without making you want to shower after it's all over, but they've created multi-dimensional characters who inhabit a believable and expansive environment. In so doing, they've also created a bloody good bit of twisted fun.
  11. That storytelling, however, is uneven, ranging from something approaching tedium to moments that are downright wonderful (such as the sweetest of scenes, involving two young lovers -- played by and Alicia Vikander and Domhnall Gleeson -- and a stack of children's blocks).
  12. Michelle Pfeiffer's performance brings life to a sometimes sagging script. Also, Kathy Bates is a hoot as the mother of Pfeiffer's love interest.
  13. The result isn't just the best new romantic comedy released so far this year, but one of the best comedies, period.
  14. Directed by someone you've never heard of and starring actors you won't be able to place, there's only one reason for a movie such as the locally shot Last Exorcism to exist: to scare the bejeezus out of you.
  15. It's also the kind of movie that, for all of its smarts and huggability, stumbles every so often. Usually that happens when it's trying just a bit too hard to be cute, such as in its occasional surrealist, animation-assisted segments.
  16. What we're left with is a love-it-or-hate-it film. Those determined to resist its deep-seated romanticism - or its operatic approach - will probably emerge from the theater as miserable as the film's characters. But those who are willing to give into it, and who want to take a grand cinematic voyage, stand to be greatly rewarded.
  17. But lowbrow or not, it is, like, totally tubular in its own right. To the max. Fer sure.
  18. It's a comfortable and tidily assembled story of human perseverance in the face of adversity. Which is yet another thing about which the Irish know a thing or two.
  19. On the one hand, there's a thrill in such experimentalism. On the other, it doesn't always deliver a fully satisfying moviegoing experience.
  20. Even when Laggies strains against its contrived conceit, his (Rockwell) chemistry with Knightley goes a long way in classing up the joint and making Shelton's film feel just deep enough to pass muster.
  21. Free Fire frequently becomes a messy blur of ricochets and one-liners. Fortunately, the cast is appealing enough -- and the characters interesting enough -- to use those one-liners to maximum effect, thus holding things together reasonably well.
  22. 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.
  23. Cera exudes a geeky charm and tender vulnerability that's hard to resist -- probably because he's far easier to relate to for most of us than we'd like to admit.
  24. In other words, Iron Man 3 -- once more delivering a satisfying combination of humor, action and dazzling set pieces -- provides everything fans of the franchise expect.
  25. 42
    Aesthetically, Helgeland's film -- while highly polished -- is straight-forward stuff, hewing so closely to the prescribed genre conventions as to border on unimaginative.
  26. An unflinchingly ugly -- but downright mesmerizing -- tale that plumbs the depths of human immorality and, along the way, offers a dash of subtle commentary on just how far we, as a 312 million-member nuclear family, might have lost our way.
  27. Roenning and Sandberg never dig deeply into the real, underlying motivating force behind Heyerdahl's voyage aboard the Kon-Tiki -- the name of his visually unimpressive but ultimately seaworthy raft -- other than relying on the fact that he wanted to prove his theory correct.
  28. The sum total is a film with great music, a great story and a great vibe in general -- not to mention those Carney-crafted moments, built around joy, possibility and self-transformation. In other words: Carney has given us another pearl.
  29. Big Eyes is not dissimilar to the Keane paintings at its center. That is, it's by no means flawless, but there's an odd attraction there, something intriguing that draws you in and makes you want to find out if there's anything worthwhile there. You can say what you will about Keane's work, but in the case of Burton's film, these "Eyes" have it.
  30. If Split does one thing, it's to show that "The Visit" wasn't a fluke. If it does another thing, it's to make me intrigued to see what he has in store for us next.

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