Austin Chronicle's Scores

For 5,157 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 The Manchurian Candidate
Lowest review score: 0 The Country Bears
Score distribution:
5,157 movie reviews
  1. There is a new definition of the term, "critic-proof movie," and it goes by the name Pokémon: The First Movie.
  2. This could be a pilot for the WB. Hollywood choreographer Fletcher makes the jump behind the camera but displays a greater aplomb for staging than drama, and the movie is as fleeting as the last weekend of summer.
  3. There’s only the faintest glimmer of Rock’s talent for piercingly funny humor here, a shortcoming for which the comic can only blame himself, given that he also produced and directed the movie.
  4. The Nines is the feature-film-directing debut from screenwriter John August (Go, Big Fish), but it feels much more like some Bizarro World collaboration between Jean-Paul Sartre and Charlie Kaufman, and not in a good way, either.
    • 46 Metascore
    • 30 Critic Score
    This film slips and sloshes around in such ways that you really can't figure out its take on the unfolding and ill-fated story.
  5. How many screenwriters does it take to screw in this dim bulb? Five – no joke – and another one credited with “story by.”
  6. Most of the actors seem to have been issued one facial expression at the beginning of the film, along with pain-of-death instructions not to change it under any circumstance.
  7. 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.
  8. 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.
  9. 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.
  10. 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.
  11. Pixar this isn't, but neither is it "Mary Shelley's Veggie Tales." If only.
  12. 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.
  13. Pleasant but dull formula film.
  14. 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.
  15. 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.
  16. The resulting film makes Sam Raimi's "The Quick and the Dead" look like a stone cold neo-Western thoroughbred.
  17. 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.
  18. 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.
  19. At its core the film is as standardized as the exam it seeks to debunk, and nearly as tedious.
  20. A hackneyed police story, rife with clichés, implausibilities, and weak performances.
  21. Not even the always reliable talents of McKean and Lynch can help pull this comedy out of its ironic slump.
  22. It dispassionately plays like a video game with a high body count.
  23. There’s little here to convince the audience of boy and girl’s special chemistry, and nothing to attach the audience to them, either.
  24. Lacks the bite that can equal the Bruckheimer bark.
  25. 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.
  26. 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.
  27. 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.

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