New Orleans Times-Picayune's Scores

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For 1,128 reviews, this publication has graded:
  • 43% higher than the average critic
  • 2% same as the average critic
  • 55% lower than the average critic
On average, this publication grades 3.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 Gleason
Lowest review score: 0 Double Dragon
Score distribution:
  1. Positive: 497 out of 1128
  2. Mixed: 552 out of 1128
  3. Negative: 79 out of 1128
1128 movie reviews
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  1. The Lunchbox
    Khan in particularly is wonderful in Batra's film, which takes the time to indulge in quiet moments that Khan expertly fills with his expressive face and sense ease in front of a camera.
  2. Citizen K
    Admirably, though, Gibney resists the temptation to climb on his soapbox to deliver some pointed political message. He gives his audience more credit than that.
  3. Rebel Ridge
    [Pierre] owns the role so fully that it’s hard to imagine anyone else in it.
  4. The Last Station
    It is edifying, it is emotionally engaging, it is embraceable.
  5. (500) Days of Summer
    You know how people say that they don't make romantic comedies like they used to? Turns out they do. At least, director Marc Webb does -- and has -- with his clever and sweet debut, 500 Days of Summer.
  6. The Revenant
    The Revenant is every bit as technically proficient as Inarritu's "Birdman," a film that made critics swoon with its masterful handling of the filmmaker's daring "one-take" conceit. It manages, however, to do it without the same gimmicky feel.
  7. The Dance of Reality
    Even when it is at its most esoteric, The Dance of Reality is always brimming with passion and a daring originality. That helps smooth over the flaws, such as its general staginess and his self-indulgent tendencies.
  8. Obvious Child
    Not all of the stand-up scenes in Obvious Child are quite as funny. At least one is meant to be bad. Another is meant to be poignant but just ends up coming off as a touch weird and emotionally false.
  9. Tim's Vermeer
    An entertaining and interesting film, and one that speaks with a reasonable degree of credibility. And while that might not make it high art, it's good enough for me.
  10. A Dangerous Method
    A Dangerous Method still feels as if it's based on a rather pedestrian narrative --and so, in the final analysis, Cronenberg's film bores.
  11. Mud
    Watching Mud unfold, one suspects that the Arkansas-reared Nichols remembers exactly what it was like to be a boy of the Southern wilds.
  12. The Lovers
    An undeniable charm emerges in writer-director Azazel Jacobs' film. And so, rather than being anywhere near as smothering as it sounds, it all springs appealingly to life.
  13. Greenberg
    There's humor there, but this is a "smart" comedy, which is to say it's not intended to make you guffaw.
  14. The Girl with the Dragon Tattoo
    It's one of the most engaging foreign films to come along since 'Tell No One' in 2008.
  15. Norman: The Moderate Rise and Tragic Fall of a New York Fixer
    Thanks to Gere -- and occasional flashes of gaudy but well-deployed visual style from Cedar -- those contrivances never threaten to overtake the rest of the film.
  16. Mistress America
    Granted, it's not a movie that will stick with many viewers for any extended time after the closing credits roll. But, sort of like Pop Rocks and Coke, it's enjoyable while it does its fizzy, burbly thing.
  17. Frank
    Yes, that makes Frank weird, but it's the kind of weird I can't get enough of.
  18. The Art of the Steal
    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.
  19. Martha Marcy May Marlene
    The quietly moving drama Martha Marcy May Marlene must be thought of as an "arrival" film. That is, for all that it has going for it (and, it must be said, against it), if it is remembered for anything it will be for introducing a 22-year-old newcomer named Elizabeth Olsen.
  20. Stan & Ollie
    Jon S. Baird's lovingly crafted film is much more "fine" than "mess."
  21. The Wolf of Wall Street
    With all of its excess, Wolf of Wall Street might not rank up there with Scorsese's best, it sure has fun trying.
  22. Win Win
    The kind of indie gem that doesn't come around nearly often enough -- and, when they do, often not enough people go to see them.
  23. Bridesmaids
    So what is Bridesmaids? A boozy wedding comedy? A touching character story? A paean to friendship? At turns, it's each -- making it a wedding movie with a commitment problem and giving Feig's scattered film a rudderless quality between the laugh lines.
  24. The Invisible Woman
    There must also be a spark, a sense of life, a compelling reason for being. If a film doesn't have those -- which The Invisible Woman doesn't -- well, it might as well be invisible.
  25. Tully
    By the time Tully hits its homestretch -- and its nicely played third-act revelation -- it all ends up making perfect, beautiful sense. In the process, Tully becomes the sweetest, funniest, most insightful portrayal of post-partum depression you're likely to see for some time.
  26. The Muppets
    Sprinkled throughout, there is also a handful of wonderfully amusing song-and-dance numbers, written by Bret McKenzie.
  27. Darkest Hour
    Stands as the best of this year's movies about Dunkirk.
  28. Spy
    Spy boasts tons of the type of low-humor that fuel so many Seth Rogen and Will Ferrell frat-boy movies. The difference here is that the laughs aren't at the expense of the fat kid. By the time the closing credits roll, McCarthy's character been built up, not torn down -- and we're rooting for her, not guffawing at her.
  29. Crude
    Part eco-doc, part legal-doc, it is a troubling, real story -- and a well-told one at that -- that is inspiring and infuriating all at once.
  30. John Wick: Chapter 2
    John Wick: Chapter Two is still an exceedingly dumb guilty-pleasure film, with its high body count, shockingly bloody violence and creative comic-book carnage. But that hotel, known as The Continental, and the structure it provides the film, goes a long way to helping John Wick: Chapter 2 become its own distinct, ultraviolent thing.
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