Austin Chronicle's Scores

For 4,963 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 Raiders of the Lost Ark
Lowest review score: 0 I Now Pronounce You Chuck & Larry
Score distribution:
4,963 movie reviews
  1. It's a botched job through and through, made all the more distressing by Bullock's recent announcement that she's throwing in the romantic comedy towel for a while.
  2. Bait equals bad.
  3. From the swooping aerial shots of downtown Miami, to the long, long-legged beauties that seem to crop up every time the action threatens to slow down, to the nonsensical lack of logic that permeates the film like the acrid odor of wasted cordite, Bad Boys oozes Eighties Hollywood clichés like no film since "Top Gun."
  4. Neither as good as its direct ancestor (Michael Schultz's great 1976 hood masterpiece Car Wash) nor as clever as the original Friday, this is, to put it bluntly, all seeds and stems.
  5. Christina Applegate, of Eighties white-trash pinup fame, is a comic foil par excellence, delivering a snazzy, self-assured performance that lands the biggest laughs in a movie made mostly of hollow chuckles. She, in fact, is the sweetest thing in this sour, sucky film.
  6. A 119-minute trailer.
  7. A boisterous, gooey miscue.
  8. Prinze, Lillard, and Biel are all pleasant enough to look at, but the film's Romeo and Juliet tropes are shopworn by now, and the movie gives us nothing else.
  9. In all honesty I'd advise you to go rent the stunning (and brand-new) DVD of the director's great "Le Mépris (Contempt)," which seems to me to be much more Godardian and much less hopeless.
  10. Eager to please, but it’s so lacking in real-world skate politics that it more resembles the chugging PG-13 mediocrity of Top 40 pop-punk-lite than the hard-core Black Flagisms of Peralta’s scathingly real doc.
  11. Surely something more original than this could have been mined from the history of North America’s largest and most professional police force. As it is, though, Johnson’s film is just firing blanks.
  12. There’s only the faintest glimmer of Rock’s talent for piercingly funny humor here, a shortcoming for which the comic can only blame himself, given that he also produced and directed the movie.
  13. 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.
  14. The fictionalization of their journey is simply not that engrossing, nor are their alter egos, with their tightly scripted character arcs.
  15. Head Over Heels whitewashes the originality and, well, weirdness Waters showed in his first film, although it's impossibe to imagine anything starring young poster-pups Potter and Prinze Jr. could be particularly edgy.
  16. Summertime popcorn pictures don't get much goofier than this silly sequel, which is everything you'd expect and nothing you wouldn't.
  17. Torpedoed by its own overarching idealism -- the film targets the new star system, the media, the studios, digital technology, and pretty much everything else you might care to think of -- and not enough script to back it all up.
  18. An inoffensive, eminently forgettable bit of fluff.
  19. "By practicing his art, he revealed himself to us." Fellini: I’m a Born Liar provides proof positive: The art indeed reveals far more than this pedestrian documentary ever does.
  20. Barely even worthy of a straight-to-video release, as simplistic and silly as it is.
  21. There is a new definition of the term, "critic-proof movie," and it goes by the name Pokémon: The First Movie.
  22. Can barely limp to its final CinemaScope sunset shot.
  23. By the time the closing credits roll, you're wondering if anyone else noticed that nothing made much sense.
  24. It's a pleasure to watch, but I found myself wondering if having a story here even mattered to the director at all.
  25. In context, it's utterly, dismayingly typical.
  26. Very little here begs to be paid attention to.
  27. A less cohesive action-comedy than its predecessor, Full Throttle is instead a freewheeling collection of random action sequences strung together with little or no discernible rhyme or reason.
  28. Director Chappelle lays on the spook factor heavy in the first 30 minutes or so, but the film quickly devolves into a simplistic slash 'n' bash shoot-'em-up which goes nowhere fast.
  29. Jawbreaker has all the heart and soul of last week's mystery loaf (a dish that made the weekly rounds at my alma mater, sadly). And like that unidentifiable bovine by-product, the film is a chilly, messy anti-treat, sweet on the outside, sickly on the in.
  30. At its core, a very manipulative piece of work.

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