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 Wild
Lowest review score: 20 That's My Boy
Score distribution:
  1. Negative: 46 out of 706
706 movie reviews
  1. An Ireland-set charmer oozing with a satisfying intelligence and driven by the considerable charisma of Brendan Gleeson ("Harry Potter and the Deathly Hallows").
  2. 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.
  3. Director David Yates picks up where he left off with "Order of the Phoenix," assembling a nicely paced and artfully shot adventure.
  4. The only waste would be if people didn't go see it.
  5. The movie documents much more than a talent competition -- it documents a political movement.
  6. There's a good reason why the true-crime film The Imposter is a documentary: If someone tried to pass off this bizarre Texas tale as fiction, nobody would believe it.
  7. A singularly enjoyable and moving film.
  8. It's a tremendously moving drama, filled with heartbreak, humor and, more importantly, humanity.
  9. Calvary is most assuredly not a comedy. It is a weighty, powerful drama -- albeit one with comic moments -- that dabbles in weighty, powerful themes.
  10. The House I Live In is not a comfortable film to consider in any respect, but without discomfort it's hard to feel anger - and without anger, it's hard to imagine that anything will ever be done about it.
  11. A movie with a message, but the subtle kind; it's whispered wisdom, wrapped up in a story of mystery, of love, of regret, of repentance and redemption.
    • 76 Metascore
    • 60 Critic Score
    This less ambitious movie will inevitably suffer in comparisons to "Secrets and Lies" or Leigh's earlier "Naked," yet on its own terms it's perfectly successful. And as always with Leigh's intimately scaled, actor-friendly pictures, the performances could scarcely be better. [22 Aug 1997, p.L26]
    • New Orleans Times-Picayune
  12. Almodovar lets his movie become boring, and insufferably so.
  13. Doesn't boast enough universal meaning to make it truly sing.
  14. It continuously feels less like straight-up reportage and more like a fan film, one built on equal parts idol worship and wishful thinking.
  15. It's called Chico & Rita, but their film could just as easily have been titled "Chico & Cuba." In both cases, it's a film are about a long-lost love, and in both cases it is steeped in such a pitch-perfect sense of place -- and affection -- that you can almost smell the cigar smoke as it unfolds.
  16. World War II dramas might be common enough, but, amid them all, Lore stands as an uncommon entry in the genre.
  17. Complemented by striking, well-conceived visuals, in Fukunaga's hands Bronte's tale of love and woe becomes one well worth repeating.
  18. Seeing Brannaman work in the warm, sun-dappled documentary Buck makes it clear why he was such a perfect fit for Redford's film: Few people can handle horses the way Brannaman does.
  19. Imbued as it is with a sense of discomforting truth, it is a worthwhile examination of human nature -- and one with a message well worth heeding.
  20. The quietly moving drama Martha Marcy May Marlene must be thought of as an "arrival" film. That is, for all that it has going for it (and, it must be said, against it), if it is remembered for anything it will be for introducing a 22-year-old newcomer named Elizabeth Olsen.
  21. It is edifying, it is emotionally engaging, it is embraceable.
  22. Baumbach, however -- while not entirely past that particular cocktail of curmudgeonly emotions -- demonstrates an ability to laugh at his own apparent age hang-ups.
  23. You know how people say that they don't make romantic comedies like they used to? Turns out they do. At least, director Marc Webb does -- and has -- with his clever and sweet debut, 500 Days of Summer.
  24. Khan in particularly is wonderful in Batra's film, which takes the time to indulge in quiet moments that Khan expertly fills with his expressive face and sense ease in front of a camera.
  25. There are other movies out this year that are more technically ambitious than Wild (I'm thinking "Birdman.") There are others that are wider-reaching in scope and sheer audacity (the 12-years-in-the-making "Boyhood"). But there aren't any others that offer the power and profundity of Wild. This movie is a gift. It's also a journey.
  26. Not all of the stand-up scenes in Obvious Child are quite as funny. At least one is meant to be bad. Another is meant to be poignant but just ends up coming off as a touch weird and emotionally false.
  27. An entertaining and interesting film, and one that speaks with a reasonable degree of credibility. And while that might not make it high art, it's good enough for me.
  28. It is fast, it is fun.
  29. Even when it is at its most esoteric, The Dance of Reality is always brimming with passion and a daring originality. That helps smooth over the flaws, such as its general staginess and his self-indulgent tendencies.

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