Austin Chronicle's Scores

For 4,895 reviews, this publication has graded:
  • 37% higher than the average critic
  • 2% same as the average critic
  • 61% lower than the average critic
On average, this publication grades 7.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 54
Highest review score: 100 City of God
Lowest review score: 0 Garfield: A Tail of Two Kitties
Score distribution:
4,895 movie reviews
  1. A lovely, quietly thrilling thing.
  2. A bust-a-gut film experience that reveals Rodriguez as both a stylist versed in the mechanics of popular storytelling and a maverick whose ingenuity guides him along a singular path.
  3. As far from "Slacker" as you could possibly get and still be using a motion-picture camera, The School of Rock is nonetheless pure Linklater, pure rock & roll, and pure fun. Gabba, gabba, hey!
  4. McCarthy’s film is rich in tone and subtlety, but has precious little dialogue. It feels less like a modern motion picture than some odd poem long lost and then discovered in another age, a timeless, ageless gem of hard-resined emotions melting into real life.
  5. Mystic River asks plenty of questions but rarely if ever offers any answers, and certainly no easy ones. If this fine and sorrowful film is what can be expected from our aging cinema icons, here’s to the golden years, dark though they may be.
  6. It is wonderful for what it is: a delightful, thoroughly satisfying comedy of modern manners.
  7. Don’t leave until the final credits finish rolling or you’ll miss what many are considering Kill Bill: Vol. 1’s best bit. Trust us on this one.
  8. Far from being atypical, the events of June 12 and the litany of tiny nightmares that led up to that day are brutally obvious.
  9. Wisely, a lot like the real event. No answers are given, barely any questions are asked, and the film unfolds at a leisurely, inexorable pace that stymies the traditional filmmaking tropes of tension and release.
  10. As riveting as a documentary can possibly be, this slim (74-minute) film is also one of the most politically aware films of the year.
  11. An antidote to holiday cheer like no other, this French tale of psychological horror is as harsh as they come -– it’s like finding a severed finger in your stocking and then finding it’s even better with hollandaise.
  12. These people and the tale of their migration and reintegration into life’s ebb and flow will remain with the viewer long after Johnny's and Sarah’s green cards expire.
  13. A rare achievement.
  14. Doesn’t provide any answers, and that’s both its strength and weakness.
  15. Osama begins in fear and ends in terror. In between there's all manner of hopelessness, deprivation, and death, which is to say that as the first film to come out of a post-Taliban Afghanistan, it's practically a documentary.
  16. This is nobody's idea of a happy family story, but it is a pristinely chilling depiction of familial meltdown in a post-Stalinist, Twilight Zone anti-place, the dark heart of heartlessness and mysterious parenting techniques.
  17. The performances of all the central and secondary characters match the passionate intensity of the film's behind-the-scenes collaborators.
  18. One of the most suspenseful films of all time, its wartime action setting makes it easy to forget it's also one of the most spiritually righteous. [Director's Cut]
  19. In terms of sheer, unrelenting visual invention, Velvet Goldmine is a wonder.
  20. LaBute's narrative structure and visual strategies are rigorously crafted, bespeaking an almost mathematical calculation that, in compellingly contradictory ways, both enhances the dramatic experience while undermining its very authenticity.
  21. Whether strutting like a bantam rooster for the Lord, fervently calling himself a “genuine Holy Ghost, Jesus-filled preaching machine,” or humbly acknowledging the folly of his actions, Duvall inhabits the character of Sonny, completely disappearing into the man's skin.
  22. "Always be good to rock and roll and it will always be good to you," the film quotes Phil Spector as saying, and a more fitting explanation of the Bingenheimer mystique you'll likely never find.
  23. Proof that movies don’t always have to be busy to entertain and enrich, this tale of life at a bucolic Korean monastery is at once profound and simple.
  24. As we are informed in the film’s prologue, "Cats live in loneliness, then die like falling rain." Sh--, man, whatever. This is so stupid it’s positively genius.
  25. By far the most gorgeous slice of sunlit sadism so far this summer, I’m Not Scared also manages to be oddly sweet: a boy’s life, with treachery.
    • 71 Metascore
    • 89 Critic Score
    Disney's latest animated feature hearkens back to its heyday fare, a sweet and captivating tale that pits gentle, enduring goodness against dark, malevolent forces.
  26. This is a determined, resolutely paced, and atypical samurai movie, more an epic of the heart than of the battlefield, and all the more powerful for it.
  27. The movie occasionally continues on too long with certain scenes and may strain the sensibilities of anybody not caught up in its delirious visuals and melodrama, but The Saddest Music in the World nevertheless beckons with a seductive and unforgettable melody.
  28. Watching and listening to these two is a charming experience; their conversation has the ring of veracity, and rarely does the viewer's interest stray.
  29. Perception is key and Control Room should be required viewing for anyone within reach of a TV signal.

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