New Orleans Times-Picayune's Scores

  • Movies
For 729 reviews, this publication has graded:
  • 45% higher than the average critic
  • 3% same as the average critic
  • 52% lower than the average critic
On average, this publication grades 0 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 127 Hours
Lowest review score: 20 For a Good Time, Call...
Score distribution:
  1. Negative: 46 out of 729
729 movie reviews
  1. Joe
    The result is intense and powerful, a full-color portrait of the importance of never surrendering.
  2. While Graham Moore's screenplay isn't without its flaws, it brilliantly weaves into the story a case that being different shouldn't necessarily be a negative thing. In fact, The Imitation Game argues in no uncertain terms that those differences can be something to celebrate, not to "cure."
  3. 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.
  4. In ParaNorman, Butler, Fell and company have crafted a refreshingly enjoyable bit of family entertainment. In the process, they've also made the best animated film to hit theaters so far this year.
  5. Open-ended and decidedly un-Hollywood, it is faintly dissatisfying, especially coming on the heels of such as engaging and crisply presented story. But it offers movie-goers a wonderful opportunity to roll it all around in their heads and discuss it, even debate it, as they drive back to that cozy little cult compound they call home.
  6. This much is sure: Salinger would have hated this movie. But he would have hated it for the very reason that others will like it: because it takes an honest-to-goodness crack at unlocking that mystery of a man and at answering key questions the publishing world and the reading public have been asking ever since he forsook them. Nothing phony about that.
  7. It's not a perfect film. There's still room for Cianfrance to grow as a storyteller. But it is entirely rewarding -- and I, for one, can't wait to see where he takes us next.
  8. Merely from a film-study standpoint, it's an interesting exercise.
  9. Here is a film that not only entertains, but also educates and -- thanks to Jodo's deep confidence and energetic artistic optimism -- one that also inspires.
  10. Stone is generally given to deep thinking -- eternal fates are on the line. Not only does that lend the riveting and intense Savages a certain gravity, but it's also what separates his film from, say, your favorite Guy Ritchie movie. Here, we find an appealing depth amid the appalling violence.
  11. Not only is the result edifying, but it's also rewarding. And it's a heck of a lot cheaper than a therapy session.
  12. The Way, Way Back is way, way good -- and a welcome breath of fresh air at the summertime box office.
  13. McConaughey and Leto's performances are also the saviors of Vallee's film, which has a way of belaboring certain points and, in the process, robbing his film of no small amount of momentum.
  14. What we're left with is something sobering but searing, muscular but compassionate.
  15. Ida
    Agata Kulesza is pitch-perfect as the tortured aunt, weighed down by years of shame and sorrow. In a quieter but equally impactful role is newcomer Agata Trzebuchowska as Ida, a character defined by a quiet, rigid stoicism but who, with her cherubic face, engenders great empathy.
  16. Amy
    If there's a voice of wisdom and hope in Kapadia's film, it comes from 89-year-old crooner Tony Bennett, whose duet with Winehouse on "Body and Soul" was reportedly her last studio recording before her death. "Life teaches you how to live it," Bennett tells Kapadia's camera in what ends up being one of the film's ultimate morals. "If you can live long enough."
  17. 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.
  18. Here's a film that feeds the heart and the soul.
  19. This is a film that could -- and should -- catch on. Just be careful nobody follows you home from the theater.
  20. Yes, it is first and foremost a thorough chronicling of the Deepwater Horizon disaster, but its real value is in its function as an expose on the energy industry, which, with aid and abetting from the federal government, repeatedly places profit above all else, including environmental concerns and human safety.
  21. 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!
  22. It's that zippy dialog more than anything that moves "Django" along and that coaxes such fantastic performances from its actors.
  23. With beautiful, artful images serving to break up the monotony of the film's wealth of talking heads, Surviving Progress is at times as visually striking as it is persuasive.
  24. 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.
  25. The result is a movie built upon big ideas -- and timely ones, too, delivering a message of understanding in this frustrating age of great intolerance -- but also a great story and, thanks to Lee, a wonderfully satisfying cinematic journey.
  26. It's a grand, colorful adventure, an escapist romp draped in tinsel. And, who knows -- if you're all good little boys and girls this year, perhaps it will also be the first installment in a new DreamWorks holiday tradition.
  27. With its emphasis on relationships and character, Drive can best be described as a thinking man's action film -- or at least, it could if it didn't ultimately feel so oddly slight. As it is, for all of its positives, it functions mostly as a guilty pleasure rather than as a movie that resonates the way, say, "Blue Valentine" does.
  28. A thoroughly and unmistakably modern film so rooted in the now that it's bound to be remembered as a cinematic landmark.
  29. Rarely is an actress asked to do so much with so little -- and even rarer does that actress succeed as well as Clarkson does.
  30. It's a film for patient moviegoers. But for those moviegoers, it stands to be a rewarding experience.

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