Austin Chronicle's Scores

For 5,048 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:
5,048 movie reviews
  1. Despite the filmmakers' efforts to humanize Wilson, however, Bill W. still dabbles in hagiography, valorizing the man while also painting him as a reluctant hero.
  2. The Ten offers a brand of comedy for very particularized tastes, though everyone should appreciate the in-joke of featuring Ryder in the skit about the Eighth Commandment. For those of you less versed in the Bible, that’s the one that says thou shall not steal.
  3. Like rocky road ice cream, The Rundown is chunky stuff, full of calories and easy to take in small doses. Also like rocky road, it’s bound to attract flies if you leave it lying around, and, more to the point, too much of it is likely to make you gag.
  4. It's never wise to try to one-up a classic.
    • 68 Metascore
    • 30 Critic Score
    Shot with the creative energy of a mediocre sitcom, the scenes play out predictable plot devices with minimal creativity and even less risk.
  5. Pixar this isn't, but neither is it "Mary Shelley's Veggie Tales." If only.
  6. As scripted by Craig Titley, this first in a presumptive franchise is a dull, scattershot affair that owes much to both "X-Men" and Greek mythology, but which never seems to slow down enough to make any sense whatsoever.
  7. Pleasant but dull formula film.
  8. It's a botched job through and through, made all the more distressing by Bullock's recent announcement that she's throwing in the romantic comedy towel for a while.
    • 53 Metascore
    • 30 Critic Score
    Grumpy Old Men is supposed to be about how love reinvents life and I'm not even really sure where it gets lost, but it ends up going nowhere.
  9. It's exasperating watching so much top-drawer talent wasted in a film that wraps itself up with one of the most preposterous (not to mention obvious) endings the genre has ever seen.
  10. The resulting film makes Sam Raimi's "The Quick and the Dead" look like a stone cold neo-Western thoroughbred.
  11. 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.
  12. The real problem isn't that Anacondas is bad – it's just so bland, so unremarkable, so by-the-numbers, and so instantly forgettable that bad might be a step up.
  13. At its core the film is as standardized as the exam it seeks to debunk, and nearly as tedious.
  14. A hackneyed police story, rife with clichés, implausibilities, and weak performances.
  15. Not even the always reliable talents of McKean and Lynch can help pull this comedy out of its ironic slump.
  16. It dispassionately plays like a video game with a high body count.
  17. There’s little here to convince the audience of boy and girl’s special chemistry, and nothing to attach the audience to them, either.
  18. Lacks the bite that can equal the Bruckheimer bark.
  19. Torpedoed by its own overarching idealism -- the film targets the new star system, the media, the studios, digital technology, and pretty much everything else you might care to think of -- and not enough script to back it all up.
  20. The film itself is an effective enough metaphor for out-of-control bullshit that frankly, Koepp aside, was part and parcel of King’s novella from page 1.
  21. And next time around... show the courage of your lowbrow convictions and get back to the gonzo, unapologetically senseless mayhem that made this saga so much fun in the beginning.
    • 34 Metascore
    • 30 Critic Score
    Say what you will about comedian-turned-actor Cook, the man is a force of nature, a tornado of verbal gymnastics and physical contortions who will do anything for a laugh.
  22. The characters are mechanisms who move along the plot arc from Point A to Point B. They’re not particularly memorable individuals.
  23. The film squanders any potential it had to be a revealing look into female intimacy and instead uses broad-scale melodramatic strokes.
  24. Bratz is way too long.
  25. The kind of movie that gives "chick flicks" a bad reputation.
  26. 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.
  27. Molina and Weaver, who, most of the time, perform brilliantly, move through Abduction as if on autopilot.

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