New Orleans Times-Picayune's Scores

  • Movies
For 754 reviews, this publication has graded:
  • 44% higher than the average critic
  • 2% same as the average critic
  • 54% 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: 61
Highest review score: 100 The Grand Budapest Hotel
Lowest review score: 20 Funeral Kings
Score distribution:
  1. Negative: 47 out of 754
754 movie reviews
  1. One of the reasons it's so effective is because it's based on a real-life, odds-defying story: that of mountainous Baltimore Ravens offensive tackle Michael Oher (played by Quinton Aaron).
  2. The performances are strong enough to elevate things. Darin, Villamil and Francella are the kinds of actors who you just know you've seen before, but whom you probably haven't.
  3. Directed by someone you've never heard of and starring actors you won't be able to place, there's only one reason for a movie such as the locally shot Last Exorcism to exist: to scare the bejeezus out of you.
  4. Burton's most imaginative film in some time.
  5. This is a dirty, stinky Western -- the kind where authenticity is the guiding artistic hand and where a layer of filth and grime have seemingly settled over everything but the popcorn in your lap.
  6. The updated version of the familiar tale strikes a nice balance between humor, adventure and romance, making it a movie that will appeal to the whole family.
  7. The result is a deliriously watchable and darkly comic portrait of a high-velocity death spiral.
  8. A movie with undeniable melancholy underpinnings, but Bertuccelli wisely avoids overdoing the drama to nurse cheap tears from her audience.
  9. It also is a film that does the impossible: It lubes its audiences' mental gears and sets them to spinning without insulting anyone and without issuing threats of eternal damnation. Subtlety, thy name is Vera. Can I get an "amen"?
  10. It is an inspiring, well-assembled portrait of one man's love for his autistic 6-year-old son and the measures he's willing to go to help the boy -- and the family -- cope with his neurological challenges.
  11. Precious is painful, it is harrowing, it is emotionally exhausting. It is also a singular film, one that is as difficult to compare to another as it is to forget.
  12. Complemented by striking, well-conceived visuals, in Fukunaga's hands Bronte's tale of love and woe becomes one well worth repeating.
  13. The result is a documentary that is as interesting as it is irresistible.
  14. A heartwarming -- and at times heartbreaking -- post-"Juno" road comedy for grownups.
  15. But lowbrow or not, it is, like, totally tubular in its own right. To the max. Fer sure.
  16. Not the deepest stuff, but thought-provoking all the same -- and entertaining to boot.
  17. So what we have is a movie that will make at least two important groups happy. New Orleans boosters can cheer Green Lantern for its local roots and for the possibility that the inevitable future installments could return to town. And the purists can cheer, knowing that Campbell and crew have done Green Lantern justice.
  18. As a result, the slickly produced Food, Inc. is more deeply unsettling than it is out-and-out stomach-turning.
  19. There's a certain triteness to the overarching message -- secrets will keep us apart, and the truth will set us free -- but the kind of sweetness and earnestness that's on display in City Island makes such quibbles easy to forgive.
  20. It's great, gruesome fun, a well-written and fantastically cast romp.
  21. Director David Yates picks up where he left off with "Order of the Phoenix," assembling a nicely paced and artfully shot adventure.
  22. Still, it's not the iconic, be-all-end-all that Scott was certainly hoping for.
  23. Unfortunately, for the bulk of the film's running time -- its first two-thirds or so -- Davis and Heilbroner oversaturate viewers with scene-setting material, describing the climate for gay men and lesbians in the 1950s and 1960s.
  24. Slowly becomes a thoughtful and interesting deconstruction and demythologizing of American celebrity.
  25. Anonymous starts admirably quickly, but Emmerich repeatedly forgets to look over his shoulder to see if his audience is keeping track of which stringy-haired Calvin Klein model is which.
  26. Imagine Norman Rockwell had he been more of a realist than a nostalgist.
  27. Lee keeps things afloat with an appealing air of levity, including a fun but restrained use of split-screen, an homage to the 1970 doc, as well as cameos by that movie's Port-O-San guy and its peace-sign-flashing nuns.
  28. It's sadly and tenderly honest -- and so are Hansard and Irglova, as they generously and matter-of-factly open up to the camera.
  29. Among them, Polanski's four-person cast boasts four Oscars and eight more nominations, so these are big-league actors who are capable of carrying a film such as this through its occasional miscalculations.
  30. It's his film's metamorphosis into something else -- something every bit as dark, and every bit as intriguing -- that will keep viewers planted in their seats, and, at times, perched on the edges of them.

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