Austin Chronicle's Scores

For 5,112 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 7.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 54
Highest review score: 100 Dazed and Confused
Lowest review score: 0 I Know Who Killed Me
Score distribution:
5,112 movie reviews
  1. Bratz is way too long.
  2. The kind of movie that gives "chick flicks" a bad reputation.
  3. Less a traditional martial-artistry marathon than it is an exercise in filmic frustration, lovely to look at by small degrees, but a mud-spattered mess of a movie overall.
  4. Molina and Weaver, who, most of the time, perform brilliantly, move through Abduction as if on autopilot.
  5. The jokes just aren't there, which makes it very hard for the stars -- who are trying very, very hard -- to really make a dent.
  6. Bait equals bad.
  7. This South Korean pseudo-epic is some of the most ambitious cr-- I've ever seen.
  8. I've had mosquito bites that were more passionate than this undead, unrequited, and altogether unfun pseudo-romantic riff on Romeo and Juliet.
  9. An awful lot of good talent has been squandered in this by-the-numbers film.
  10. Apart from the fang-restraint of the nosferatu, however, there's precious little that's altogether new or for that matter shocking about this by-the-numbers thriller.
  11. Another frivolous product of whiny male anxiety that's as funny as a sitcom but longer and more expensive.
  12. This crass and hugely dumb aliens vs. multiple earthling navies should thrill the hyperactive 10-year-old inside you. Adults, on the other hand – and especially genre-fan adults – will be bored to tears and wishing Bay (or at least Jerry Bruckheimer) had something of their own on the marquee out front.
  13. Relentlessly dull and curiously bombastic.
    • 50 Metascore
    • 30 Critic Score
    As Tim – a character rich in contradictions and psychological possibilities – Chittenden may as well be a cardboard cutout for all the emotional complexity he’s able to muster.
  14. Have we such short memories that we have already forgotten last year's feeble "Johnson Family Vacation?"
  15. Go for the gore (there's lots of it), but stay for the immortal line: "Now let's go find the body this arm belongs to."
  16. Duigan has the makings of a good yarn, but instead of trusting the story and his characters, he becomes fatally bogged down in trying to make statements.
  17. Derrickson's staid direction, coupled with Wilkinson’s sad-sack priest and a general air of dreariness make for a courtroom thriller that’s somewhat less apocalyptic than the "L.A. Law" episode involving the death of Benny's mom.
    • 26 Metascore
    • 30 Critic Score
    With a lazy, cliché, rabid plot and paper-thin character development, Because I Said So might as well have been directed by a trained chimpanzee.
  18. It's a courageous but misguided move on Perry's part; he has none of Freeman's soulful, nuanced subtlety, and watching him display the gamut of emotions called for in Marc Moss and Kerry Williamson's script is like watching the Hulk attempt Swan Lake.
  19. Fans of the series, if there are any left and I'm not too certain that there are, will enjoy the usual smorgasbord of lower intestines spilling out from the screen and onto their laps (via the profoundly crappy 3-D) as well as an above-average opening slaughter involving two men, one woman, several buzz saws, and a crowd of gawking onlookers.
  20. Everybody’s Fine – a movie about the lies grown children tell their parents – is, ironically, one of the most disingenuous movies to come out of Hollywood in a while.
  21. The Greek myths, of course, will endure. The same cannot be said for Singh's silly, self-serious, instantly forgettable, and inaptly named Immortals.
  22. Considerably less of a thrillgasm than playing "Frogger" blindfolded.
  23. If there were any brooms in Disney's new Sorcerer's Apprentice they would have to be used to sweep this tired dreck to the curb.
  24. With Filth and Wisdom, the Material Girl has now spliced the title of film writer and director into her list of accomplishments, but the result is, well, immaterial.
  25. By the time The Statement comes to its inevitable conclusion, you'll be hard pressed to remember much about it, sadly enough. In other words, The Statement doesn't make much of one.
  26. Burlesque bumps and grinds. And then it continues to grind and grind and grind.
  27. Feels more like Barry Levinson's "Tin Men" on Prozac.
  28. Even if some of its history and buckles are askew, the film is still an original take on a Christian redemption story.

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