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 A Single Man
Lowest review score: 20 Think Like a Man Too
Score distribution:
  1. Negative: 46 out of 706
706 movie reviews
  1. 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.
  2. Without Hardy, The Drop would be in danger of becoming just another crime drama. With him, though, it's something else entirely -- something alive, tightly wound and irresistible.
  3. It's in the film's Africa-set scenes -- at the film's start and again in its closing 25 minutes or so -- when The Good Lie is at its best. This is where the story is at its most moving and rewarding.
  4. A low-energy drama, but the kind that has a way of holding your attention -- and keeping you smiling -- for the entire time you're watching it, lifting your mood in the process.
  5. It's also a touch tedious at times, as it's not always clear where Oppenheimer is going.
  6. Gilroy -- who earned writing credits on all four "Bourne" films -- doesn't miss when it comes to the most important task at hand: He takes a well-worn concept and makes it feel new, and without sacrificing its sense of familiarity.
  7. No, it's not a perfect movie, given how dangerously close it comes to running out of quality third-act punchlines before you're liable to have run out of Sno-caps and Raisinettes. Also, some of the biggest names in the supporting cast -- John Lithgow and Dan Aykroyd, specifically -- are all but wasted.
  8. A solidly entertaining and largely engaging film that, even with its faults, functions as a singular -- albeit melancholy -- tribute to a tragic American icon.
  9. The surrealist and decidedly bizarre humor of Tim Heidecker and Eric Wareheim is, to put it mildly, an acquired taste -- and there's no guarantee you'll ever actually acquire it.
  10. Wiig is so enjoyable to watch that it rescues Johnson's film. She's the best reason to see it.
  11. It's also both intense and entertaining enough to leave audiences hungry for the inevitable sequel so clearly set up by its cliffhanger ending.
  12. Yes, it's a nature documentary, so it includes predatory behavior, but it's mercifully brief and generally tastefully photographed. Plus, it doesn't involve any of the film's main monkeys, so little hearts won't be broken.
  13. Enough Said isn't without the occasional minor formulaic element or the odd narrative contrivance here and there (starting, it must be said, with its very setup). It is, after all, a romantic comedy.
  14. The resulting coming-of-age story isn't necessarily an uplifting one. It is harsh. It is melancholy. It is sometimes uncomfortable to watch and predictable here and there. But it also boasts a feeling of authenticity.
  15. This is a film your preschooler will sit through, and attentively. Better yet, parents who appreciate the artistry of a well-made animated film also stand to be swept up in what is a delightful little tale.
  16. If nothing else, True Story is the kind of movie that will spark spirited discussion among moviegoers prone to digging and searching for the truth -- whatever that might be.
  17. 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.
  18. Witching and Bitching -- though perhaps a bit overlong, and prone to meandering -- is unapologetic about what it is: a crazy, just-for-fun film that revels in its own bad taste.
  19. Most normal people will not see this as a "pleasant" film -- I hope that's the case, anyway -- but it certain makes you feel something.
  20. Michell's is a film with somewhere to go -- and that journey is one well worth taking.
  21. Is Premium Rush a two-wheeled "French Connection"? No, not by a long shot. (Although it does include a racing-beneath-the-el-train homage.) But when it comes to lightweight, synapse-free action fare, Premium Rush delivers.
  22. While it's enjoyable enough to watch, there's no slam-dunk takeaway here.
  23. It's that sort of singular imagery that ultimately rescues Lowery's film. Yes, it's a flawed movie, but it also is a downright lovely one.
  24. 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.
  25. Despite its adoption of that trendy (and more than a little tired) shooting style, there's an old-fashioned charm to Earth to Echo.
  26. Dawson, who to this point has largely built her career playing supporting characters, seizes the opportunity to stand center-stage, all but taking over the film.
  27. It's no "Das Boot," but Battleship is a boatload of popcorny fun.
  28. It's an uneven but fairly enjoyable ride, one that benefits from Statham's cool, capable presence.
  29. It keeps you guessing, it keeps the tension ratcheted up, and it offers a dose of breathless -- if sometimes brainless -- suspense.
  30. Flaws aside, the journey will be largely worth it for audiences, particularly for fans of the genre.

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