Austin Chronicle's Scores

For 5,783 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 8 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Easy Rider
Lowest review score: 0 Left Behind
Score distribution:
5783 movie reviews
  1. The film looks good (nod to cinematographer Roman Vasyanov). The images are sharp even when the film’s ideas are not.
  2. Despite successfully creating the illusion of forbidden glimpses, The Good Shepherd slogs through most of its lengthy running time.
  3. The filmmakers no doubt had a hell of a time whittling the material down; unfortunately, what they came up with was something long on the mundaneness of and short on the personalities behind it.
  4. Ultimately feels like a movie whose heart is in the right place, even though someone neglected to flip the 'On' switch.
  5. An excellently cast biopic about yet another self-destructive genius who burnt out but will never fade away – at least not in France, or wherever cigarettes, alcohol, and sex are still allowed.
  6. On the whole, the film feels detached and morose, just like its characters.
  7. It starts off with a slick split-screen bang, but this high tech heist thriller is like a For Dummies guide to the genre.
  8. Product placement aside, there’s an admirable, even sweet, message about fellowship and misfit pride shot through the whole script, and Vaughn is rather touching as a kind of cuddly uncle figure to his fellow interns.
  9. On the plus side, Costanzo is an appealing and likable young actor who carries the film easily; he gives the impression that he is thinking deeply and mildly amused.
  10. Ultimately, it's undone by the overfamiliar nature of Doon and Lina's quest, the outcome of which, while breathlessly paced, is never really in question.
  11. It's a 24-hour-party-people travelogue, entertaining enough to grab your eyes... but less memorable than it may at first appear.
  12. Breathtakingly gorgeous but ultimately thematically unsatisfying.
  13. After establishing this interesting premise, writer/director James DeMonaco only scratches the surface of its implications before devolving into a creepy roundelay of murders and deaths averted.
  14. This is really Reygadas' show all the way. And what he's delivered is a sad, tawdry picture in which all hope for salvation lies with God.
  15. This children's sci-fi movie should be palatable to the young and old alike, yet it's ultimately more a mild diversion than a magical adventure.
  16. Smashed may be better at preaching to the choir and is likely to find its largest audience among struggling 12-steppers.
  17. It's a loud, obnoxious, and pleasant-enough entertainment, but hardly the soaring tale of one man's struggle that it was so clearly envisioned to be.
  18. If you shy away from that sick feeling in the pit of the stomach that comes when watching good people make bad decisions, then best to steer clear of Manito, a low-budget indie that reaches near-Greek proportions of tragedy brought on by lousy decision-making.
  19. Arguably better than the last five Eddie Murphy films taken together, The Nutty Professor still seems to be playing down to its audience much of the time, though you'd never know it to hear the gales of laughter erupting at the screening I attended.
  20. Glory Road really isn't a bad show – it's just an obvious one – and one wishes material of this historical import had received a more refined rendering.
  21. The elliptical narrative also recalls Fernando Meirelles' somewhat similarly themed "The Constant Gardener," a film ultimately more heartfelt and accessible to mainstream audiences because its maker is unafraid of grief and explores it more deeply.
  22. This is a film strictly for hardcore sentimentalists, despite its straight-ahead depiction of the harsh urban landscape in contemporary China.
    • 60 Metascore
    • 50 Critic Score
    A drab, anemic machine, Spectre, may bring the spectacle, but it lacks a soul. Someone get Idris Elba on the phone.
  23. Suffice to realize that Reeves’ opening salvo is an ambitious and heady mix of the glorious (if overtold) past, the tense present, and the imperfectly perfect realm of Chen’s fighter, his conscience, and blow upon blow upon blow. The concoction works, despite – or maybe because of – its unjaded, fantastical familiarity
  24. Fernandez is excellent as the maladjusted daughter, but the film's heart and soul is embodied in Galina's noble, understated performance.
  25. Hotel for Dogs is a decent family film, sure to please animal-loving kids and their parents alike. Well-acted, the movie also looks good and is stocked with lots of goofy gadgetry.
  26. Pass the popcorn, dude; this shit rocks.
  27. Certainly it's not for everyone, but fans of Euro-sleaze will groove on Argento's obvious charms and the film's dystopian thrill ride, while the rest will probably doze off dreaming Fassbinder dreams.
    • 51 Metascore
    • 50 Critic Score
    The film is vast and epic, featuring sprawling rivers, awe-inspiring landscapes, serious military campaigns, and the rich political and ideological history of the period. Still, without sufficient context, the films swirls grandly but without making much meaning.
  28. Scooby's just so dang cute, what's the point in grousing?

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