New Orleans Times-Picayune's Scores

  • Movies
For 597 reviews, this publication has graded:
  • 49% higher than the average critic
  • 2% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 1.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 63
Highest review score: 100 Mud
Lowest review score: 20 Grown Ups 2
Score distribution:
  1. Negative: 41 out of 597
597 movie reviews
  1. There's something Shakespearean about it. From the case of mistaken identity (though willfully mistaken) to the formal, old-fashioned language to the tragic tone in which it is all swaddled, this is Shakespeare by way of the Deep South.
  2. Gravity, it turns out, is a great film, a technical and storytelling masterpiece that is buoyed by stunning visuals and which functions both as a ripping, tension-filled yarn and as a profound and life-affirming work of art.
  3. The result is a ripped-from-the-Zeitgeist film that is razor-sharp, an astute and funny portrait of the early 2000s, with all its LOL's, its IMO's and its WTF's. Mostly its WTF's.
  4. The U.S. government did torture prisoners of war in the name of its so-called war on terror and, by extension, in the name of all Americans. What Bigelow and Boal seem to be arguing is that such actions take a deep cosmic toll on the people responsible -- whether directly, in the case of Chastain's character, or indirectly, in the case of you and me.
  5. It's the little moments in Farhadi's film that are its most important, speaking every bit as loudly as its big, narrative-driving moments.
  6. Not only is the result edifying, but it's also rewarding. And it's a heck of a lot cheaper than a therapy session.
  7. 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.
  8. Inside Llewyn Davis isn't as goofy as 2008's "Burn After Reading," nor as solemn as 2009's "A Serious Man," but it's an embraceable film just the same.
  9. Positively soars.
  10. A great storyteller, however, is one who can entertain an audience in the moment -- but who also gives them something to think about, something for them to take home with them when the story ends, which is exactly what Polley does in Stories We Tell.
  11. More than anything else, however, director Jacques Audiard's gritty, grab-you-by-the-shirtfront film is a mob movie -- a really, really good mob movie. Think "GoodFellas," but with Gauloises and accent aigu instead of plates of spaghetti and accent Pesci.
  12. Like "The Hurt Locker," Winter's Bone is a spare but riveting drama with a female director. It is built around a raw, revelatory performance by a young, little-known lead actor.
  13. Her
    Even a flawed Spike Jonze film is a thing of beauty in its own way, and even the uneven but admirable Her is a journey well worth taking.
  14. Merely from a film-study standpoint, it's an interesting exercise.
  15. Like everyone else in Russell's cast, Lawrence appears to be having a blast in the role. It's downright contagious.
  16. It's also a touch tedious at times, as it's not always clear where Oppenheimer is going.
  17. If nothing else, this is a cinematic high-wire act.
  18. One of the chief reasons that director Tom Hooper's richly produced film works so well is because it operates on so many different levels. The King's Speech is all about layers, and Hooper keeps it humming on several at once.
  19. There are moments of depth there as well, as Anderson touches on themes of friendship and loyalty. More than anything else, though, The Grand Budapest Hotel is just a fun ride -- a wild, wonderful ride seemingly plucked out of Anderson's dream journal.
  20. Up
    A thoroughly uplifting bit of cinema.
  21. Imagine Norman Rockwell had he been more of a realist than a nostalgist.
  22. A dazzling, stirring capper to a once-in-a-generation movie franchise.
  23. Pitt and Hill are fantastic individually, and hilarious when together -- and on a surprisingly engaging script by Aaron Sorkin ("Social Network") and Steve Zaillian ("Schindler's List").
  24. What plays out is something like CSPAN 1865. That is, it's dense, talky stuff at times -- particularly at its start, as the film takes a good 15 minutes to gain traction -- but also highly rewarding and instructive.
  25. A thoroughly and unmistakably modern film so rooted in the now that it's bound to be remembered as a cinematic landmark.
  26. It is a thoughtful film, a serious one, and one that is sneakily affecting.
  27. Sharp, brisk and highly entertaining.
  28. What Anderson's talky and willfully opaque film doesn't have, however, is an unfailingly compelling story to tell.
  29. Beasts of the Southern Wild is not only a wonderful story -- a portrait of intestinal fortitude in the face of enormous change -- but it's our story, forged in our own shared recent history and dripping with flood, sweat and tears.
  30. It's the same fine line that so often separates artfulness and "trying too hard" -- a line that Lebanon tramples all over.

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