Austin Chronicle's Scores

For 6,039 reviews, this publication has graded:
  • 38% higher than the average critic
  • 2% same as the average critic
  • 60% lower than the average critic
On average, this publication grades 8 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Rear Window
Lowest review score: 0 The Pink Panther
Score distribution:
6039 movie reviews
  1. The humor is both broad and lowbrow, yet often extremely funny.
    • 72 Metascore
    • 78 Critic Score
    The film feels like the spirit of a zine come alive – with a few over-the-top, Muppet-esque explosions.
    • 65 Metascore
    • 50 Critic Score
    First-time director Michael O’Shea, like his bloodthirsty cinephile protagonist, tempers his killer instinct with moody introspection.
  2. Graduation may not occupy a place at the top of the class of contemporary Eastern European cinema like some of Mungiu’s other films, but it definitely sits above the curve.
  3. Phoenix Forgotten is borderline generic, desert-set found footage that apes the aforementioned Witchiness and genre constraints to a snooze-worthy T.
  4. As breathtaking as the imagery is, however, the script, which is narrated by John Krasinski, is a mess of anthropomorphic goop.
  5. This is one fish tale that’s well nigh guaranteed to linger in the viewers’ midnight memories long after its cinematic nocturnal emissions have unspooled.
  6. The film gets there eventually, but one wishes it weren’t so timid about embracing the inherent schlockiness of the genre.
  7. The Promise may not be the greatest movie of its type since "Hotel Rwanda," but purchasing a ticket to this solid if predictable movie is a sure way to thumb one’s nose at deniers of the Armenian Genocide.
  8. Despite its best intentions, The Lost City of Z never finds itself, doomed to aimlessly wander to an unsatisfying conclusion of a dream that betrays the best of men.
  9. It results in very little fresh insight that might allow us to feel that Linda Bishop didn’t die in vain.
  10. Armie Hammer slyly steals the show as Ord, a very chill American arms dealer.
  11. There are blood-red visual motifs all over the place, but The Devil’s Candy isn’t particularly bloody in and of itself. It suggests acts of terrible evil far more than it shows, and is all the more intense for it. Highly recommended.
  12. Hathaway and Sudeikis totally nail their respective roles (kudos to the great Tim Blake Nelson, to boot), and while Colossal falls shy of perfection, so does real life.
    • 62 Metascore
    • 50 Critic Score
    For fans of full-throttle gore, The Void delivers, but for better or worse, it doesn’t really stop along the way to explain itself.
  13. Seeing what St. Andrews’ greens must have looked like in their native days before all golf courses became zealously manicured is refreshing. The film’s action, however, is rarely filmed in a way that highlights the action, and the story’s biographical elements lack dimension and drama.
  14. Their Finest may ultimately be the best words to describe the amalgamated work of all participants in this film.
  15. Gifted may rely on the extremely old-school lovable-orphan-and-adopted-parent template, but there’s a certain emotionally complex realism to both the performances and the storyline that lifts the film beyond the obvious and the cliched.
  16. What sets apart this eighth outing is its giggling bouts of male henpecking, all puffed feathers and nyah-nyah taunts.
  17. A strictly-for-the-kiddies animated reboot of the seemingly ancient Smurf brand, The Lost Village is so tame it hardly merits a PG rating.
  18. The geezer humor is just as funny here as it was in the original version of this film, which starred George Burns, Art Carney, and Lee Strasberg. I mean this as a compliment, although it’s, admittedly, a bit backhanded.
    • 73 Metascore
    • 89 Critic Score
    The film sucks you in with its exquisite cinematography (shot in lush black-and-white, with a handful of carefully curated moments in color), and a heavy influence of Thirties and Forties Classic Hollywood filming techniques.
  19. Given its nonlinear structure, Your Name requires your trust, but once you place your faith in screenwriter/director Shinkai’s expert hands, the reward will come. (Not surprisingly, the film is the fourth-highest-grossing film in Japan’s history.)
  20. Despite its inadequacies, however, The Zookeeper’s Wife conveys a tale of courage and opposition to authority that provides valuable inspiration for any era.
  21. Certain touches resonate and remain memorable long after the film’s conclusion – I’m talking to you, creepy robo-geishas – but for all its CGI bells, whistles, and Johansson, this simply can’t compare to its (highly recommended) Japanese forebears.
  22. Theroux (who co-wrote with director Dower) manages to dredge up some new, albeit not particularly revelatory, intel on the litigation-happy group, and the tack they take to get there is interesting in and of itself.
  23. Not surprisingly, the best thing about The Boss Baby is Baldwin’s imperious vocalization as the authoritative rugrat with a head the size of a bowling ball, punctuated by Margaret Keane eyes.
  24. A reasonably enjoyable, if utterly predictable, romp.
  25. By the end, however, the movie’s predictable wind-down and ho-hum twist at the end make this Life hardly worth living. In space, no one can hear you yawn.
  26. The investigation is dull, the jokes dispiritingly flat-footed, with Ponch’s sex addiction and squirminess over male intimacy supplying most of the setups for CHIPS’ puerile humor.

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