Austin Chronicle's Scores

For 5,118 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 Force Majeure
Lowest review score: 0 Jack
Score distribution:
5,118 movie reviews
  1. It's the snobs versus the slobs! And this holiday's no picnic!
  2. 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?
  3. 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.
  4. It is, in a word or two, everything that Poe's tales and poems were not: interminable and picayune.
  5. 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.
  6. 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.
  7. It's mediocrity at its most unremarkable.
  8. 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.
  9. 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.
  10. 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.
  11. Definitive modern cinematic eye-candy with all the connotations of empty calories that term implies.
  12. 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!")
  13. The whole production is simply as mediocre and half-baked as Hollywood gets.
  14. At its core, a very manipulative piece of work.
  15. 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.
  16. It's the type of film that begs to be called “charming” and by doing so instead ends up grating.
  17. 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.
  18. Moog is an inventor's movie all the way.
  19. 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.
  20. The first "Nightmare on Elm Street" was wickedly surreal, but the wacky dream sequences were offset by the sitcomlike, almost satirical flatness of ordinary suburban life; that was the really scary part. Freddy Vs. Jason is innocent of such nuances.
  21. Works just fine for the first half hour or so, but quickly devolves into a case of too much affection and not enough affliction.
  22. The film finds some momentum once the bodies start dropping – but maybe that was only the sweet relief in knowing the end was nigh.
  23. 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.
  24. What this really comes down to is the film's central lie. Made of Honor pins its hopes on a character who acts utterly without honor, and on an actor who has only two settings – sensitive or smarmy. The smarm wins.
  25. In Movie 43's better-suited afterlife in the home-entertainment market, those sort of quandaries can be hashed out between bong rips and bags of Cheetos.
  26. Just as clichéd as its predecessor, and lacks the old-school charm of films like "Wild Style" and "Breakin’."

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