New Orleans Times-Picayune's Scores

  • Movies
For 698 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 0.3 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 698
698 movie reviews
  1. The result is a movie that, in its best moments, is delightful. It does lose a significant amount of steam halfway through -- likely due in part to its two hours of running time.
  2. It's hard to resist the pairing of such talented actors as Robert Downey Jr. and Zack Galifianakis - and they prove why here. They are funny guys, both of whom make the most of the material.
  3. As engrossing as The Young Victoria is, this isn't a movie that will stay with you very long. Mostly that's because Blunt's character does little by way of evolving.
  4. RED
    RED is so much fun -- and its Over the Hill Gang so likeable -- that this is one of those rare cases where I wouldn't mind seeing them come out of retirement again for another romp.
  5. Never Let Me Go isn't the kind of movie you talk about on the drive home -- it's even better. It's the kind that makes you sit quietly and think, rolling it around in your head and considering the angles.
  6. Even though it's right there in the title, "fantastic" might be a touch hyperbolic in describing director Wes Anderson's stop-motion adaptation of Roald Dahl's The Fantastic Mr. Fox, but only by a whisker.
  7. Before it gives itself a chance to deliver on that promise, however, it morphs into something different -- something often resembling a soap opera, just with prettier sets and less-passionate smooching.
  8. Just as key to the movie's impact are its well-acted scenes of heart-wrenching emotion, although some stray perilously close to melodrama.
  9. Oddly, though, Everyday Sunshine ends up being a mostly optimistic tale. That's because, despite it all, Fishbone is still gigging.
  10. The Art of the Steal is activist filmmaking, but it's well-done activist filmmaking. And, given that the Barnes fight isn't quite yet over, it could also become the most most important kind of filmmaking: the kind that makes a difference.
  11. Most of all, though, there's the story itself, which was already pretty quirky -- and amazing -- even before Oscar-nominated screenwriter Thomas McCarthy ("Up") put pen to paper for director Craig Gillespe's film.
  12. Although they've left the city behind, the girls haven't forgotten the sex. They're still as frank as ever, as outrageous as ever, as liberated as ever.
  13. As it turns out, though, the most troubling part of the film for me wasn't the rape scene, or the siege scene or the Southern stereotypes. Rather, it was the audience's reaction to Marsden's chilling spasms of bloody violence as he defends his home. Rather than breaking out in hives, many in the audience broke out in laughter.
  14. It's not a perfect film, mind you. It's too long by a quarter, and actor-turned-director Charles Martin Smith ("The Untouchables") lets any sense of real structure slip away in the film's crowded third act.
  15. Along the way, Shut Up, Little Man boasts nice technical elements. And it is, admittedly, amusing to a degree. Peter and Raymond certainly know how to turn a phrase. But things begin to wear thin about halfway through.
  16. The Lottery Ticket doesn't hit the comedy jackpot, but it doesn't roll snake eyes, either. In my book, that's a winner.
  17. There's plenty of melodrama, plenty of whispered intensity, plenty of dramatic pauses in his story. There also are a few bizarro -- and, in some cases, unnecessary -- detours. But when it's all said and done, there's no real call for any emotional investment on the part of his audience.
  18. The only thing missing from the film -- which is frequently amusing but too bleak to be consistently laugh-out-loud funny -- is a genuine connection with its audiences, or at least those audiences not raised in 1960s Jewish suburbia.
  19. A reasonably well-made biopic, with crowd-pleasing moments, but one that -- despite that title -- isn't really about the animal.
  20. What most saw as entirely charming behavior others saw as a nuisance. After all, a playful whale has a way of unwittingly damaging rudders and outriggers and outboard motors and such. Worse, wildlife officials saw Luna's behavior as potentially dangerous, for the people he encountered -- and for the whale himself.
  21. There's no point mincing words: My Sister's Keeper is a difficult film to watch. That's not to say it isn't well-assembled, well-cast or well-acted.
  22. For her part, Stewart has Jett down pat: her strut, her slouch, her sexiness. This is a performance that goes far beyond Jett's shag haircut.
  23. Plotwise, though, Brewer's Footloose is anything but loose. In fact, it's rigidly loyal to the original, to the point of slavishness.
  24. The actors never stray too far from their comfort zones, resulting in a sporadically funny but mostly bland crime comedy that only occasionally feels fresher or more memorable than that cold pizza you scarfed for breakfast Monday morning.
  25. It continuously feels less like straight-up reportage and more like a fan film, one built on equal parts idol worship and wishful thinking.
  26. Ritchie and company spend too much time being cute and not enough time being clever, resulting in a one-dimensional comic-book version of Doyle's detectives.
  27. So while J. Edgar ends up feeling like a mostly complete portrait of the man, and as fascinating a story as it is, it still falls just short of being something entirely memorable.
  28. Worse, Shrek Forever After feels like just another animated movie -- which is exactly what the series was fighting against when it started, and a big reason why it caught on with audiences.
  29. All of the pieces fall into place by the third act -- or most of them, anyway. But Tinker, Tailor, Soldier, Spy is such a cold, unemotional film that getting there is a chore, muting the payoff.
  30. If you appreciate historical melodrama, you could do worse than Vincere.

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