New Orleans Times-Picayune's Scores

  • Movies
For 778 reviews, this publication has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 0.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Birdman or (The Unexpected Virtue of Ignorance)
Lowest review score: 20 Endless Love
Score distribution:
  1. Negative: 47 out of 778
778 movie reviews
  1. 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.
  2. Amour is a far cry from the warm-and-fuzzy version of love that most people are probably looking for on Valentine's Day. This movie is more of a slap than a hug. But reality hurts sometimes - just like love does.
  3. Katniss is gritty, she's flinty, she's intimidating -- and she doesn't have to compromise one iota of her femininity for it. And Ross' movie tells her story wonderfully.
  4. That's not to say the sobering Take This Waltz is nearly as emotionally agonizing as "Blue Valentine." Still, it's every bit as truthful in its examination of the evolution, and subsequent devolution, of love.
  5. 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.
  6. Rush is just that -- a rush, and a film that is sure to get audiences' engines going.
  7. Joe
    The result is intense and powerful, a full-color portrait of the importance of never surrendering.
  8. 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."
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. A highly enjoyable -- and, for better or for worse, a very Tarantino -- movie.
  15. Merely from a film-study standpoint, it's an interesting exercise.
  16. 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.
  17. 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.
  18. Simply, this is a story that needs to be told, one that proves that sometimes the past shouldn't be relegated to the past. It also makes The Look of Silence an unassailably essential and necessary film.
  19. Not only is the result edifying, but it's also rewarding. And it's a heck of a lot cheaper than a therapy session.
  20. The Way, Way Back is way, way good -- and a welcome breath of fresh air at the summertime box office.
  21. It succeeds wonderfully, offering moviegoers a rare taste of rarified air -- and as compelling an argument as you can make for seeing a movie writ large on the oversized screen of an actual movie theater.
  22. 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.
  23. What sets Deadpool apart is its overall genre-busting tone, which blends a wealth of meta humor, the wisecracking Reynolds' significant skills with a one-liner, and a genuinely funny script that isn't afraid to offend anyone.
  24. What we're left with is something sobering but searing, muscular but compassionate.
  25. 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.
  26. 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."
  27. 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.
  28. Here's a film that feeds the heart and the soul.
  29. This is a film that could -- and should -- catch on. Just be careful nobody follows you home from the theater.
  30. This being a period drama, all the expected visual grandeur is present and accounted for, from Yves Belanger's vibrant cinematography to Odile Dicks-Mireaux's period-authentic costumes to Francois Seguin's production design.

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