Austin Chronicle's Scores

For 5,042 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 Force Majeure
Lowest review score: 0 Jack
Score distribution:
5,042 movie reviews
  1. The laziness is what irks me most about Blended. Everything from the re-teaming of the two stars and their "Wedding Singer" director, Frank Coraci, reeks of moviemaking by checklist.
  2. In context, it's utterly, dismayingly typical.
  3. Yeah, this movie's a dog, but you can't blame the producers for strip-mining the same old fool-proof formula to death … and beyond.
  4. While the totality of Jupiter Ascending is just too much for its own massive narrative heft to support, kudos to the Wachowskis for beating back against mainstream Hollywood by casting actors of all races and genders in key roles, something they’ve been doing since their 1996 debut "Bound."
  5. No one would mistake the Benzini Bros. Circus for the greatest show on earth – the Depression-era traveling troupe is a junker compared to the gold-standard Ringling Bros. – but still, a film has to try pretty hard to render lions and tigers and trapeze artists so uniformly underwhelming.
  6. Just watching the trailer for Oliver Stone's new football epic a few weeks back left me with a grating headache; watching the whole sweaty film practically put me in the ICU.
  7. Co-writers Don Calame and Chris Conroy utterly fail to notice the wealth of black-comedy gold inherent in the very notion of sprawling supercenters and instead go for the dumbest gags they can find.
  8. Selick is widely and rightly regarded as a master of surreal, dark humor, and wildly inventive animation technique, and Monkeybone is the first tarnish on his otherwise spotless reputation.
    • 64 Metascore
    • 30 Critic Score
    Buscemi and Miller do their best with what they have, finding at least some small redemption in two dislikable characters written into an improbable situation, but emotional honesty in the service of nonsense is still nonsense, no matter how many scabs it manages to pick at.
  9. It all falls apart at the end, however, and in such a loud and abrasive way that it makes Brian De Palma's "Raising Cain" look like a model of restraint.
    • 50 Metascore
    • 30 Critic Score
    Fur dares the viewer to look into the eyes of Kidman and Downey Jr. and not see a whimpering housewife with a crush on Chewbacca.
  10. War, Inc. is neither all that interesting nor all that cool.
  11. Phenomenon flails about in a search for direction: inspirational drama, romance, social study, government intrigue- nothing fits or is explored very deeply.
  12. A dull, tired mess.
  13. How the devastating story of the senseless murder of a 14-year-old could be stripped of emotion is a feat in itself, though one of dubious achievement.
  14. While it’s possible that Annabelle might give a few audience members goosebumps, anyone who’s ever seen "Rosemary’s Baby" –or pretty much any film James Wan’s had a hand in since helming 2007’s "Dead Silence", the "Saw" franchise excepted – will figure out what’s going on within the first 30 minutes.
  15. With a running time of 78 minutes, Awake is relatively painless, playing a little like a lesser story from one of EC Comics Shock SuspenStories – or a lot like Joseph Cotten's "Breakdown" episode of Alfred Hitchock Presents – updated for the Fangoria generation.
  16. Another addition to Universal’s Pictures Classic Monsters arsenal of crap (remember Van Helsing?), director Shore, in his feature debut, displays a fine sense of pacing but little else.
  17. How can a movie narrated by Junior Brown and backed with wall-to-wall southern rock – a movie that at one point features co-stars Nelson and Carter tied together, surely a first in celluloid history – be so uneventful? Why, it's lazier than Sheriff Roscoe P. Coltrane's good-for-nothing hound dog, Flash.
    • 49 Metascore
    • 30 Critic Score
    Lucky You is redeemed slightly by the presence of Duvall as Huck's father, poker legend L.C. Cheever, who clearly spent more time being Huck's teacher than his dad. Their inevitable face-off at the final table of the World Poker Championship has just enough Oedipal overtones to give the movie a little heft.
  18. Very little here begs to be paid attention to.
  19. The kindest thing that might be said of this Eighties nostalgia trip is that its formulaic plot and overall mirthlessness are meant as mimetic tributes to that blasted decade.
  20. Its kooky hybrid of slapstick gender jokes already had whiskers on 'em in Shakespeare's day.
  21. It’s McHattie’s bizarre turn as the beleaguered town’s mayor that steals this show. Taking his cue from another infamous Ontario public servant, he gives a performance that can only be described as bat-shit crazy. Fitting, eh?
  22. Pardon the pun, but audiences will reap little from this satanic backwoods juju thriller.
  23. Arthur overextends its welcome and relies too much on prop comedy.
  24. Perhaps vice isn't what it used to be, or maybe Crockett and Tubbs just aren't all that interesting when removed from their appropriate time slot, but this may well be the dreariest and most monochromatic time you'll have at the movies all summer.
  25. Almost insufferably sufferable. It's a chick flick of the tallest order, with schmaltz galore and the sort of ongoing romantic hubris that practically screams, "This is codswallop, right?"
  26. Consider this yet another nail in the Eighties coffin.
  27. Certain scenes play as if Reiner forgot to show up on the day of filming, so the actors and cameraman just winged it. Perhaps his embarrassing (and pointless) turn as Leah’s clueless accompanist with the bad toupee distracted him from his principal responsibilities behind the camera. What a Meathead.

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