Austin Chronicle's Scores

For 4,970 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 Jing Ke ci Qin Wang
Lowest review score: 0 House of the Dead
Score distribution:
4,970 movie reviews
  1. A dull, tired mess.
  2. This year's entry in this lowly subgenre is Four Christmases, a D-list comedy with A-list actors.
    • 29 Metascore
    • 30 Critic Score
    The only thing saving Lake City from total ridiculousness is Spacek.
    • 38 Metascore
    • 30 Critic Score
    Let no one ever say that Dark Streets doesn't have the perfect title. It may not be much more than a stylized regurgitation of creaky film-noir clichés and crime-fiction conventions … but its streets are undeniably dark.
  3. Delgo is a dud.
  4. The lesson learned from The Tale of Despereaux is that an overabundance of vocal talent does not a good cartoon make.
    • 43 Metascore
    • 30 Critic Score
    It's fascinating how an innocuous film can suddenly flare up into offensive claptrap.
  5. It's chop-socky vindaloo, pleasing on a platter but awfully difficult to swallow whole.
  6. 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.
  7. 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.
    • 45 Metascore
    • 30 Critic Score
    They are all part of a great American tradition. Hate them if you want to, but you might as well hate gated communities, "The Real World," and the war on terror while you're at it.
  8. In the end, it's much ado about nothing. Oh, the ennui, the ennui.
  9. Ghosts indeed: This romantic comedy by name alone attempts to make funny – not to mention culturally relevant – the kind of swinging-dick misogyny that went out of fashion years ago.
  10. The revelation of Little Ashes turns out to be none of the leading men but rather Gatell, a riveting actress cast as the girlfriend who is mystified by Lorca’s lack of sexual interest in her.
  11. Ends up as little more than a recursive footnote to the infinitely better up-all-night teen comedies of, you guessed it, John Hughes.
  12. Considerably less of a thrillgasm than playing "Frogger" blindfolded.
  13. The film may have only the best of intentions, but it tries way too hard and ends up being shallow, superficial, and only sporadically funny.
  14. The real problem with this Aliens encounter is that it's patently a Nick at Night midweek movie that inadvertently got greenlighted for a big-screen opening.
  15. This is the kind of movie in which every other line of dialogue feels like a metaphor – and from there on, the film seesaws between the uncomfortable extremes of glum and twee: an overwrought dirge keyed to a xylophonic ping.
  16. The Collector feels like the final, welcome nail in the bizarrely popular torture-porn coffin.
  17. I’m told Bella’s helplessness is true to the spirit of the novels, but so what? It’s almost 2010 – let’s get hip, people.
  18. For fans, however, Saw VI is, pardon the pun, a cut above the rest but not, sadly, by much.
  19. 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.
    • 50 Metascore
    • 30 Critic Score
    It’s not a movie. It’s a two-hour infomercial for biodiesel.
  20. It's not a total wipeout: Czuchry embodies the Tucker Max(-ims) to a self-obsessed fault, and there are moments of rough comic brilliance scattered throughout, but really, this particular antihero is all anti- and zero hero.
  21. Not even the always reliable talents of McKean and Lynch can help pull this comedy out of its ironic slump.
  22. Less a traditional martial-artistry marathon than it is an exercise in filmic frustration, lovely to look at by small degrees, but a mud-spattered mess of a movie overall.
  23. Despite a title change from "The Boat That Rocked" to Pirate Radio, this British import exudes about as much outlaw swagger as Tom DeLay in a dance competition.
  24. Everybody’s Fine – a movie about the lies grown children tell their parents – is, ironically, one of the most disingenuous movies to come out of Hollywood in a while.
  25. How many screenwriters does it take to screw in this dim bulb? Five – no joke – and another one credited with “story by.”

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