Austin Chronicle's Scores

For 5,942 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 7.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Heat
Lowest review score: 0 Paul Blart: Mall Cop 2
Score distribution:
5942 movie reviews
  1. Maybe Stonewall will have more value to younger viewers for whom the riots and gay marginalization in general are distant history and might be vivified by watching the film. Yet even though the film’s heart seems genuine, its structure is buttressed by falsies.
    • 64 Metascore
    • 40 Critic Score
    Though pretty to look at (with camerawork by Phedon Papamichael) and inspiring to contemplate, this story of human triumph needs a lot more of the human for an audience to actually experience the triumph.
  2. uUltimately Better Luck Tomorrow feels nearly as hollow and unknowable as its characters’ hearts.
  3. Van Helsing is simply far too much of a good thing, and although Hensley's Frankenstein Monster comes off better than anyone else, the film suffers from some truly inane dialogue and pacing that will likely cause tachycardia in members of the audience old enough to recall who Dwight Frye was.
  4. I'm certainly not asking for car chases and explosions here, but this is a suspense film that's too "adult" for its own good, despite the fact that Redford, Dafoe, and Mirren (in particular) have rarely been more mature in their performances.
  5. Strives to be an inspirational depth charge, but its power is consistently waylaid by some genuinely hokey dialogue and situations.
    • 51 Metascore
    • 40 Critic Score
    So slow-moving, the narrative takes forever to gain momentum, and when it finally does, it deliberately undercuts it. This either is the most contemplative and sensual kind of pleasure or a well-meaning, finely executed misfire that ultimately drags instead of soars.
  6. Neither a badly miscast Cage nor an oddly dispassionate Cruz remotely suggest the ardor of love's passion.
  7. Toei Animation has done their usual bang-up job on the 2-D animation, filling nearly the entire running time with skirmishes, melees, and battles royal beyond compare.
  8. Without sizzle or thrills, The Tourist becomes as sluggish and rank as the Venice waterways.
  9. As an ensemble comedy that at best is only firing on four cylinders at any given moment, Mr. Jealousy is a slight contrivance, one that dawdles around in your head for a brief while before vacating the area to make room for more pressing issues.
  10. Midway through, a character remarks as he leaves the scene of a takedown of Ronnie, "I thought this was going to be funny, but it's just kind of sad." The same thing is true about the movie as a whole.
  11. There's nothing that feels like real rage, nothing that even remotely approximates the spiritual decimation of a termination.
  12. It's the kind of film you feel like watching twice -- not because you found it that engaging to begin with, but because you didn't, and everyone else did.
  13. From Lee’s point of view, I can understand the enticing challenge of taking on a revered cult film Oldboy. But a pair of ill-conceived casting choices can jolt you out of the film, or worse, elicit the rolling of eyes and barely stifled giggle.
  14. The movie’s length forces our suspension of disbelief for at least an hour more than is comfortable and pushes mindlessness to a dangerous longevity.
  15. It takes great skill to make something so ponderously stultifying as this third film entry in the ongoing adaptation of C.S. Lewis' series of splendidly imagined children's books.
    • 55 Metascore
    • 40 Critic Score
    In fictionalizing the story of Austen, the filmmakers didn’t go far enough. Becoming Jane attempts to please the purists and the dreamers, but only results in disappointing both.
  16. Julia, Huston, Ricci, and Workman are all excellent in their roles (Carol Kane as Granny Addams seems little more than an afterthought), but they're unfortunately not enough to save this elongated mess. If you haven't yet seen the first film, rent that instead, or, better yet, go pick up a volume of the original Addams cartoons.
  17. Patinkin and King’s characters’ wrangling with spirituality is sincere, and specific. Everything else in this everything-and-the-kitchen-sink film feels like too many ideas stored up over an especially long winter.
  18. Perhaps future generations of film scholars will embrace The Quiet as a B-movie that problematizes the oppressive gaze, but for now, it's a misfire.
  19. Let's just say if you liked the last one, you'll like this one, too. Otherwise, you'll discover that it's time for Drebin, Nordberg, Capt. Hocken, and the rest to finally retire their badges.
  20. Although Love the Hard Way is saturated with a doomed romanticism that feels more fictitious than real, the actors lend the movie a potency that it would not have had otherwise.
  21. Zombie continues to have a true, unflinching artist's eye for the sublimely horrific (a woodsy murder sequence is pregnant with disturbing, painterly compositions), that eye is wasted here on an unnecessarily moribund history of sociopathy as it relates to Halloween in Haddonfield, Illinois.
  22. As we find ourselves again immersed in a time of war, Trumbo's ageless story offers a useful corollary.
  23. Tim Burton is all grown up and getting serious with this wildly scattershot tale.
  24. This film adaptation feels like YA, with cat’s-cradle love matches, soft-focus sexuality, and a main character who never satisfactorily makes the transition from page to screen.
  25. Ready to Wear is to filmmaking what paper dresses were to fashion -- thin, trendy, and disposable.
  26. But instead of being the hippest kid on the block, this plays like some ranty, paranoid comic thriller. It'd be more fun watching Jimmy Stewart get the beat-down from Claude Rains on the Senate floor; when Mr. Williams goes to Washington, the result is a total snooze.
  27. Undone by Blanchett's dull, wooden delivery. She's the pap that kills the pulp the rest of the film is bellowing out to be.

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