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 Before Night Falls
Lowest review score: 0 Garfield: A Tail of Two Kitties
Score distribution:
4,895 movie reviews
  1. For those unfamiliar with the notoriously camera-averse philosopher and his thoughts, Derrida will most probably prove to be an unenlightening bore.
  2. In contrast to its great title, Mad Hot Ballroom is anything but: Let’s just say I was not spellbound.
  3. It's manic and wearyingly predictable, and as soon as it begins, you know exactly how it's going to end: with a hard, fast crash (and the requisite yakkety epilogue).
  4. 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.
  5. Not even the rich and nuanced performances of stage veterans Smith, Gambon, and Birkin can save this British period drama from languishing amid the story's unfocused longings and unrealistic musings.
    • 68 Metascore
    • 30 Critic Score
    The real problem with For Your Consideration is that it's just not funny.
  6. Michael Lehmann's "Heathers" followed the same sort of story line to much better effect in 1989, and Clueless leaves you itching to race over to the video store in search of just that.
  7. Don't believe the hype: Paranormal Activity may be a lot of things, but the words "scary" and "movie" are not among them. It is instead nothing more or less than an excruciatingly tedious YouTube gag cleverly marketed to go viral in the broadest and most box office-friendly way.
    • 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.
  8. "By practicing his art, he revealed himself to us." Fellini: I’m a Born Liar provides proof positive: The art indeed reveals far more than this pedestrian documentary ever does.
    • 67 Metascore
    • 30 Critic Score
    While the compelling Plowright competently flexes her well-trained muscle, the film's melodrama too readily evokes a Lifetime Original Movie rather than subtle sentiment.
  9. At times it's almost like "Lord of the Flies," with the camera serving as the flypaper dipped in the honey of the promised land of celebrity.
  10. The emotions are turbocharged and the topic is eternally relevant, but that's not enough to save Two Girls and a Guy from being a whiny, snoozy bore.
  11. In short, the character is a lot like the way Stan Lee first envisioned him, but the trilogy's screenwriter Steve Ditko would probably loathe this new, unsatisfying, and hollow-feeling entry into the new cinematic Marvel Universe.
    • 65 Metascore
    • 30 Critic Score
    Unfortunately, after those first 10 minutes it’s all downhill for I Am Legend, as the film descends into a monster-movie malaise starring a horde of balding CGI monsters that look like refugees from a video game and that will scare absolutely no one, save those who worry that green-screening is ruining the movies.
    • 65 Metascore
    • 30 Critic Score
    If sex, gangsters, and killing Nazis are three of the most enlivening topics in the movies, then let us count friendship as one of the most tiresome, right up there with grooming horses and sharing for sheer thrills.
  12. Perhaps vice isn't what it used to be, or maybe Crockett and Tubbs just aren't all that interesting when removed from their appropriate time slot, but this may well be the dreariest and most monochromatic time you'll have at the movies all summer.
  13. This Italian import may have greater resonance for the men of Casanova's native land than it does internationally, but it definitely hits on truths infrequently addressed in the movies.
  14. It's confused and confusing, by turns hilarious and off-putting. In short, it's awfully hard to love I Love You Philip Morris.
  15. The comedy is often harsh and cruel.
    • 64 Metascore
    • 30 Critic Score
    Buscemi and Miller do their best with what they have, finding at least some small redemption in two dislikable characters written into an improbable situation, but emotional honesty in the service of nonsense is still nonsense, no matter how many scabs it manages to pick at.
    • 64 Metascore
    • 30 Critic Score
    And come on, guys: There’s nothing cinematic about Googling.
    • 64 Metascore
    • 20 Critic Score
    With every bit of sliced flesh and every punctured skull I found myself wondering who exactly this movie is for. Its unflinching violence has earned it an R rating, meaning its desired demographic – teenage boys – is out of contention. That raises the question: Are there really adults who want to sit through this kind of mindless, bullying mayhem?
  16. Unlike its multifaceted director, the film never stretches its boundaries.
  17. A stiff drink or maybe some pharmaceutical assistance might have made me overlook the film's sour tone, or the unremarkableness of its direction.
  18. It's all infuriatingly simplistic, and the performances help matters little. Quinn and McTeer are wholly uncompelling.
  19. The Boxtrolls feels rough-and-tumble and not as much fun by half.
  20. Consider this yet another nail in the Eighties coffin.
  21. A dead-chamber misfire, a hollowpoint dud.
    • 62 Metascore
    • 30 Critic Score
    Quirky and undisturbed, unaffected and unaffecting.

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