New Orleans Times-Picayune's Scores

  • Movies
For 890 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 1.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Hugo
Lowest review score: 20 The Identical
Score distribution:
  1. Negative: 56 out of 890
890 movie reviews
  1. 127 Hours -- just like "Slumdog Millionaire" -- is a masterful slice of four-star cinema, featuring an irresistible performance by James Franco, breathtaking cinematography, and the kind of deep, searching soul that is absent from so much of what comes out of Hollywood.
  2. A beautifully uncomplicated story, really -- about the love between daddies and their little girls.
  3. 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."
  4. This is the kind of movie that almost begs for a second viewing, which, admittedly, isn't always a good thing. In the case of The Lobster, however, it is. It's a very good thing -- good and weird and wonderful.
  5. It's one heck of a fun ride, a pure popcorn spectacle that doesn't require a knowledge of the Star Trek mythology to make it enjoyable.
  6. 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
  7. Boyle, Sorkin and company might not have invented the iPhone or changed the way people viewed technology, but it does something the real Steve Jobs had trouble doing: It offers a genuine peek at the man behind the turtleneck, and in the process finds a way to connect with its viewers.
  8. The film is chilled by characters that never really come alive or generate any deep sympathy.
  9. Love is Strange doesn't really have any sort of sense of urgency about it. To the contrary, it feels rather mundane, as their problems -- while both unfortunate and unfair -- feel relatively small when put in perspective.
  10. Berger's film is still far more magical than it is macabre. And so although a black-and-white, foreign-film adaptation of a very familiar tale might, indeed, be a hard sell, audiences who buy into it are in for an undeniably rewarding movie-going experience. In a word: ¬°Ole!
  11. It is beautiful, and it is difficult to watch. It is heartwarming, and it is heart-wrenching. It is absorbing, and it's unsettling.
  12. Don't expect there to be a run on Secret of Kells action figures any time soon.
  13. Sometimes the nuts-and-bolts of the story threaten to snag, most often on conversations about the very specific details of Locke's largely humdrum job. It's those moments in particular that keep Locke from ever quite shaking the feeling that it's a gimmick film.
  14. Bridge of Spies, with its stop-and-go momentum, is also more merely interesting than it is full-on riveting. It's still quite good stuff, but despite its impressive pedigree... it doesn't feel as if it's quite the sum of all of its parts.
  15. Foxcatcher isn't a film many viewers will clamor to rewatch. It's too chilly a film for that. At the same time, it's one that will suck them in -- and it will hold them while they're there.
  16. No
    You'd think that a movie about such a dynamic moment and such a vibrant ad campaign would be more dynamic and vibrant.
  17. Larrain's film offers something human, something insightful, and something altogether unforgettable.
  18. It's that zippy dialog more than anything that moves "Django" along and that coaxes such fantastic performances from its actors.
  19. Few of the characters feel fully fleshed out. McKay's Big Short also lacks a certain nuance in its third act, when McKay's agenda becomes abundantly, ham-handedly clear. Still, it's hard not to be outraged by what is learned.
  20. 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.
  21. This is what makes Anderson's film so infuriating. It's so damned irresistible -- until it becomes so damned insufferable, getting lost in a marijuana fog of poorly explained plot developments and indecipherable twists. Still, it's hard to look away for fear of missing some other equally inspired flourish.
  22. 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.
  23. A lovely jaunt that ends up becoming one of Allen's most enjoyable films, start-to-finish, in years.
  24. Also helping to sell it all is the fact that these films, goofy though they may be, feature a consistently high level of acting. In addition to Pegg, we get Martin Freeman ("The Hobbit"), Paddy Considine ("Red Riding"), Eddie Marsan ("Sherlock Holmes") and Bill Nighy ("Love Actually"), all of whom have appeared previously in the trilogy.
  25. To his credit, however, the often-playful Blomkamp never bludgeons his audience with any specific message. He's too busy letting 'er rip with his edge-of-your-seat, and unapologetically violent, sci-fi adventure.
  26. The result is an intelligent and well-crafted film that works to inspire audiences by finding the humor amid the prevailing bittersweetness of life, and that celebrates the strength of the human spirit with a dose of unbridled and entirely embraceable optimism.
  27. As a result, the slickly produced Food, Inc. is more deeply unsettling than it is out-and-out stomach-turning.
  28. 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.
  29. This is not a feel-good movie. This is the frigid, hard-to-embrace cinematic opposite of a feel-good movie, in fact -- all wrapped in one long, dark metaphor for depression.
  30. A story of hope amid the ruins -- one that everybody can appreciate, no matter their politics.

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