Austin Chronicle's Scores

For 5,151 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 7.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 54
Highest review score: 100 Kung Fu Hustle
Lowest review score: 0 I Now Pronounce You Chuck & Larry
Score distribution:
5,151 movie reviews
  1. Spottily directed and lacking the dubious merits of even the Friday the 13th franchise, this is one slasher film that should die a quick and lonely box-office death.
  2. Unimaginatively filmed and of a misbegotten construction, Tammy goes all in with its namesake character (played by McCarthy), hanging the entire movie around a person who is immediately and irreversibly established as being thoughtless, unperceptive, destructive, and uneducated.
  3. By the time the closing credits roll, you're wondering if anyone else noticed that nothing made much sense.
  4. Nothing more than an extended version of the syndicated television program, with the unkempt Irwin spending most of the movie excitedly shouting at the camera as he taunts something venomous.
  5. The interfacing of the two-dimensional and three-dimensional characters is so shabbily accomplished that it makes you start noticing all the other technical glitches in the work.
  6. 10 times too much, a nonstop orgy of bullets, bombs, and booty that aims low and hits the bull’s-eye with enough firepower to sink the Bismarck.
  7. Predictable piffle, a comically unbelievable story that leaves almost no impression except what a sham our legal system is.
    • 50 Metascore
    • 30 Critic Score
    If we don’t stop these public dance-offs here and now, before too long we’re going to have an entire generation of kids seeking salvation as back-up dancers for Justin Timberlake
  8. Gondry's update of vigilante crime fighter The Green Hornet's escapades is above all an exercise in frustration.
  9. It keeps its distance in the emotional depiction of its relationships, particularly the friendships among the Valley Boy quartet.
  10. The result is a somewhat functional blood feast for the exploitation crowd, but it's hardly a bead of sweat on the original's battered backside. Oh, and the score? Basil Poledouris' bombastic brass is still No. 1.
  11. Possibly one of the dullest takes on a real-life murder mystery, this gutter’s-eye-view of the waning days of Los Angeles porn king John "Johnny Wadd" Holmes is barely as interesting as one of the big man’s films, and a lot less revelatory.
  12. Christian filmmaking has entered a new phase in which its creators have discovered how to soft-pedal their message under wraps of a conventional story.
  13. The script, by Adam "Tex" Vegas, ricochets between over-earnest romantic comedy staples and a noticeable lack of any consistent tone for Reynolds’ character.
  14. I lodge no complaint against the film’s emphasis on prayer, even if, dramatically, it’s not scintillating stuff to watch.
  15. For one thing, Seven Days in Utopia feels an awful lot like Victor Salva's 2006 New Age uplifter "Peaceful Warrior." That film at least had the appeal of watching Nick Nolte play Yoda, whereas here Duvall simply seems to be playing Duvall.
  16. Each of the characters is dull and boorish instead of witty and urbane.
  17. You come away from Splinter feeling it would have made a far more effective short than the feature-length drag it is.
  18. This Italian import may have greater resonance for the men of Casanova's native land than it does internationally, but it definitely hits on truths infrequently addressed in the movies.
  19. Creating plot from lyrics, in this case, leads to heavy-handed literalism and limited creativity. The wall of music is amusing for a while, but grows into a loud, wearying assault long before the movie's two hours are up.
  20. For all its genuine thrill-ride gestalt, No Escape completely short-shrifts its Southeast Asian players. There’s exactly one Asian character of note, a Kenny Rogers-loving tuk-tuk driver (Boonthanakit). Everyone else is a nameless victim of the equally nameless mob.
  21. Because “all in” – to me, at least – suggests a certain standard of enthusiasm, of emphaticness, and what this latest Step Up movie indifferently chunks out falls far short of that standard.
  22. 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.
  23. For the most part, this is strictly kiss kiss, bang bang, yawn yawn.
    • 42 Metascore
    • 30 Critic Score
    White-bread storytelling made by, for, and about people who think joy and meaning can be acquired by simply taking a step or two out of life’s comfort zones and into African-safari packages and skydiving excursions.
  24. About as thrilling as cleaning out your garage.
  25. Why remake Craven's original at all? Oh, yeah, I forgot: Reheated depravity sells. To avoid existential despair, keep repeating: It's only a remake; it's only a remake; it's only a remake.
  26. There’s nothing especially offensive about the actress (Hudson); if anything, it’s that lack of offense, her overwhelmingly benign vibe, that has become increasingly repugnant with every picture she puts out.
  27. The film restages the greatest hits of the show's many musical numbers, to greatly diminished effect, with lackluster choreography and all the narrative appeal stripped away.
  28. It's a mess, and one that even the pickled cowboys behind me found yawningly tedious, and that's not something I ever thought I'd be saying about a Sam Raimi movie with the word “dead” in the title.

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