New Orleans Times-Picayune's Scores

  • Movies
For 915 reviews, this publication has graded:
  • 42% higher than the average critic
  • 2% same as the average critic
  • 56% lower than the average critic
On average, this publication grades 2.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 62
Highest review score: 100 The Girl with the Dragon Tattoo
Lowest review score: 20 That's My Boy
Score distribution:
  1. Negative: 59 out of 915
915 movie reviews
  1. Mamma Mia! Here We Go Again is not a Meryl Streep movie. She's featured prominently on the movie's posters. She's all over the trailer. But no matter what the studio wants you to believe, the above-the-title star of 2008's original "Mamma Mia!," and the most celebrated actress of her generation, gets all of about five minutes of screen time in the sequel.
  2. Fuqua's storytelling here isn't as expert and efficient as McCall is when he's forced into action, but it's good enough. Bottom line: He and The Equalizer 2 still deliver on their promise of a badass Denzel doing badass things for all the right reasons.
  3. A memorable emotional journey -- and reminds us once more why Granik is such an intriguing filmmaker to watch.
  4. What McDonald ends up with is a film that serves both as tribute and as cautionary tale, and one that functions well as both.
  5. While it has its moments of passable action -- ends up feeling every bit as toothless as its dinosaurs are toothy.
  6. Fred Rogers dared to make a case that all children are precious and that there might be more productive ways to entertain and educate them than with popguns and pies in the face. More importantly, he decided to do something about it.
  7. Admittedly, I'm in the minority here, with many other critics swooning over First Reformed and the big questions it raises. Regardless, the biggest question I had after watching it was simple: What the hell did I just witness?
  8. The new Superfly is, simply, a terrible movie. It is slick, and it boasts action, hot tunes and style to spare. But beyond the polish that a deep-pocketed studio backer can buy -- in this case, Sony's Columbia Pictures shingle -- this is a shamefully hollow movie that fails on multiple levels.
  9. This isn't a movie that pretends to be profound. It's meant purely as B-movie entertainment, and -- also like the "John Wick" films -- it's fully aware of that.
  10. While those aforementioned blockbusters offer a welcome dose of escapism, The Rider traffics in something considerably more affecting: authenticity.
  11. Most real horror fans, however, will likely be left wondering where the heat is.
  12. 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.
  13. Granted, it takes a while to get to that point. Nearly an hour, in fact. That's owed to Zvyagintsev's penchant for long, lingering shots, which emphasizes mood over kinetic energy, and which also at times creates a drag on the narrative. That mood, however -- tragic, hopeless, heartbreaking -- is expertly created.
  14. While Isle of Dogs can be enjoyed simply for its surface pleasures -- its unique story, its singular voice and its gorgeous animation -- there are elements there that will appeal to those who want to dig deeper. That includes an argument in favor of an aggressive and adversarial press, as well as a fairly glaring distrust of government.
  15. I keep finding myself wanting to compare it to 1964's "Dr. Strangelove," Stanley Kubrick's Cold War comic masterpiece -- which, as any movie buff will tell you, is exceptionally high praise. In this case, it's also warranted.
  16. You won't feel like a hostage watching it. But don't be surprised if you feel a little as if you're doing homework.
  17. Camp's handsomely shot new Benji manages to find that sweet spot between wholesome and enjoyable. It is cute without seeming desperate, nostalgic without feeling dated, values-based without being preachy, and sweet without being (too) cloying.
  18. While those flaws might conspire to keep A Fantastic Woman from being unassailably fantastic as a whole, there's no denying that it is fantastically timely, and touching to boot.
  19. To be fair, though, even if all three actors had brought their A game, the half-baked story behind When We First Met is so formulaic and so uninspired that it would still be a forgettable film.
  20. With lesser performances, its rangy story could have easily gotten lost in its own histrionics. As it is, though, they elevate Cooper's script, helping to make Hostiles better than it might otherwise have been.
  21. We've seen unhinged Nicolas Cage before. For the most part, we like unhinged Nicolas Cage. But in the darkly comic horror satire Mom and Dad, Cage gets the opportunity to take things to a whole new level. Of course, he takes it.
  22. Perhaps most interestingly, Gillespie's film is also in its own way, about all of us and our fascination with the Harding saga to begin with, boldly holding up a mirror for us to gaze into. What we see isn't exactly comforting. It might not even be correct. But it is certainly something to ponder.
  23. A wonderfully weird love story that plays like an adult fairy tale, it's a fantastical delight -- and the kind of movie that deserves all the accolades it will most certainly receive this award season.
  24. Stands as the best of this year's movies about Dunkirk.
  25. One of the most pleasant surprises of this year's jam-packed holiday release schedule, and easily the season's must-see family film.
  26. Even when he isn't at the top of his game -- and in Wonder Wheel, he certainly isn't -- Allen's films still tend to have something intriguing to offer.
  27. Not only does Franco entertainingly capture all the attendant insanity -- as written about by "The Room" co-star Greg Sestero in the 2013 book on which The Disaster Artist is based -- but he has fun with it. He also, however, takes the opportunity to dig a little deeper and find the humanity at the root of it all.
  28. Much of Sweet Virginia suggests a deep Coen brothers influence. But when it is pulled off as well as it is in Sweet Virginia, there's no shame in that.
  29. It's interesting to ponder how well Roman J. Israel, Esq. would have worked had Washington passed on the role. Thankfully, we don't have to ponder too long -- because Washington, indeed, took it, and he is terrific.
  30. A meticulously shot and sharply written character study, it plays like a blend of the Coen brothers and Quentin Tarantino, borrowing its subtle philosophical core from the former and its sudden bursts of violence and blood-spattering vitriol from the latter. It's also a great film, an entertaining and thoughtful examination of one woman's journey into darkness, as well as a study of the corrosive nature of anger and hate when left unchecked.

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