Austin Chronicle's Scores

For 5,237 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 Capturing the Friedmans
Lowest review score: 0 Hall Pass
Score distribution:
5,237 movie reviews
  1. The film goes by in a wash of uninspired action and unmemorable comedy.
  2. It's visceral bloodbathery at its most repellent, but worse than that, it's horrific like the aftermath of a suicide bombing instead of terrifying like the bomb beneath the table or the knife behind the back.
  3. It's not wrong to wish these actors were working in the service of a better script or more assured direction, but it's probably also possible to simply take pleasure in their performances.
  4. Truly, the greatest torture of all is boredom.
  5. The movie makes use of every avian pun possible, a pattern that becomes quickly monotonous and predictable, if not contagious.
  6. It's the snobs versus the slobs! And this holiday's no picnic!
  7. As forgettable as a puff off a generic-brand butt: filtered, flavored, and ultimately unsatisfying.
    • 35 Metascore
    • 30 Critic Score
    Who would have thought mass murder and cannibalism could be so dull?
  8. 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.
  9. It is, in a word or two, everything that Poe's tales and poems were not: interminable and picayune.
  10. Hardly lives up to its name -- bedeviled is more like it.
    • 58 Metascore
    • 30 Critic Score
    As a satire this film would be hilarious, but writer Robert Harling's ("Soapdish") script doesn't quite hit the mark.
  11. What the movie ultimately demonstrates is that the sum total is less than the individual parts when you add together Rocky, the Terminator, Indiana Jones, Mad Max, Blade, Zorro, Hercules, and the Transporter.
  12. It's mediocrity at its most unremarkable.
  13. It's a testament to Bill Nighy's cadaverous panache that this third entry in the ongoing exsanguinators vs. lycanthropes franchise (that's vampires and werewolves to anyone not weaned on Famous Monsters) is as tolerable as it is.
  14. The trouble comes when somebody opens their mouth and you’re reminded this is supremely silly stuff, and overall a much lesser version of teens versus the titans of post-apocalypse industry – a copy of a copy of a copy.
    • 40 Metascore
    • 30 Critic Score
    A bad sequel to a good movie...The main concentration is on gross-out effects and lame chase scenes.
  15. 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.
    • 41 Metascore
    • 30 Critic Score
    Chris Dowling’s second feature at first seems anodyne enough, but once the plot mechanics kick into high gear, the film becomes as unsurprising as a prix fixe menu.
  16. Indeed, the biggest acting coup here comes by way of Courtney Love, whose cameo as an obliging waitress is the best thing the film has going for it.
  17. Definitive modern cinematic eye-candy with all the connotations of empty calories that term implies.
  18. Monk would probably make a nice rental on a dull evening, with some kind of salty snack and a drinking-game accompaniment. (Drink whenever Scott cries, "Oh, shit!")
  19. The whole production is simply as mediocre and half-baked as Hollywood gets.
  20. At its core, a very manipulative piece of work.
  21. This new film version, sad to say, is a hollow shell of the original series.
    • 44 Metascore
    • 30 Critic Score
    All that's missing from the director's new vision of the world is the pipe organ and the choir of angels.
  22. It's the type of film that begs to be called “charming” and by doing so instead ends up grating.
  23. The script, written by the three brothers, is ludicrous and incomprehensible, and plays cat-and-mouse games with what could have been some deeply funny comments on race, wealth, and, in one inspired changing-room scene, eating disorders.
  24. Moog is an inventor's movie all the way.
  25. West (Con Air) saturates his imagery in a sickly, sulphurous stew of rotten-egg yellows and oranges, making a mediocre picture downright repellent at times.

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