Austin Chronicle's Scores

For 5,994 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 8.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Call Me by Your Name
Lowest review score: 0 Paranormal Activity
Score distribution:
5994 movie reviews
  1. Although guaranteed to split critics and viewers alike, nobody can argue that Bravo and Gelman haven’t put their all into this absurdist, existential farce. The question remains: Will Lemon make or break that all-important first date comedy connection? (Personally, I’m sticking with Ruggero Deodato.)
  2. Cloyingly melodramatic film.
  3. Strives to depict its love-hate relationship in emotionally neutral terms, but the sympathies are ultimately lopsided.
  4. A clever idea that never stretches beyond just that -- a caterpillar that never blooms into a butterfly.
  5. Neither a change of seasons nor truly wonderful performances can breathe life into the dismally enervated Winter Solstice.
  6. For both kids and adults, CWCM2 is little more than a vague memory as soon as it’s over.
  7. Strong performances and Miller's equivocal stance toward her characters save the movie from its symbolic overload and melodramatic crash course, but in the end there may be less here than meets the eye.
  8. Mighty Aphrodite may take its thematic and structural cues from Greek tragedy, but it's second-rate Borscht Belt all the way.
  9. Yet, the problem goes beyond the film's staginess (although there's plenty of that to go around). It could even have something to do with the delicate difficulties involved in the successful transfer of stage camp to the more intimate level of film.
  10. Cape of Good Hope is a hopeful piece of humanism that is difficult to begrudge too much.
  11. Fincher's camerawork gives the movie a jittery feel, and his video-trained eye lends the prison sets the look of a dilapidated cathedral, but again, there's really nothing here that we haven't seen before, and better, at that. Nice title, though.
  12. Before the cocaine economy, Miami was a sleepy seaside hamlet, a "virgin city" with a permeable border and largely unprotected coastline.
  13. Gray's signature long takes and overhead shots are in evidence and add to the film's fatalistic tone, and one rainy car-chase sequence is a real keeper. But, overall, it's impossible to shake the film's gloomy sense of eternal repetition.
  14. This is an interesting/odd take on the Cars universe, seeing as how this is a movie squarely aimed at pre-teens who likely have no concept of aging, let alone four-wheeled mortality, or for that matter Joseph Campbell’s monomythic “Hero’s Journey.”
  15. If the movie isn’t so fabulous, should die-hard fans who can quote the show by heart see it? Absolutely. (The gays are sure to love it.)
    • 59 Metascore
    • 40 Critic Score
    Playing comedy, Duris is as engaging as a bowl of porridge; playing tragedy, he’s the height of comic absurdity; in scenes romantic, he’s detached to the point of somnolence.
  16. Whatever the reason for its disappointments, Mission: Impossible is a mission gone awry, prompting you to hope that reruns of its television incarnation will pop up on cable soon.
  17. Once you get past the admittedly breathtaking shots of our national landmarks being turned into kindling, the rest of the film is a tired and empty two hours of feel-good patriotism and oddly cast characters.
  18. Fascinating, partly because of its originality.
  19. Sorvino and Kudrow, for whatever inscrutable reasons, seem to be having a blast with their ridiculous characters, and both shine in the loopy set-pieces and dream sequences that pepper the story.
  20. When the film sticks to biographical and career background, it is on steady ground, but when it argues the case for one particular album, it becomes promotional rather than documentary material.
  21. Limitless is a writer's movie by a writer, and it explores the dark side of the muse.
  22. It’s all in good fun, and critic-proof to boot, but Jurassic World doesn’t even come close to that most intimate and dearly coveted “Gosh, wow” sense-of-wonder that the original film mustered so easily. Roar more, bite less.
  23. Day Watch falls prey to the curse of most sequels in which "more" is often a thin concept stretched beyond its limits and misconstrued to mean "bigger and better."
  24. As a biopic, the movie has several shortcomings, but as a background story Madame Satã is full of atmosphere.
  25. Funny and expands our background knowledge of these likable characters, but the story gets bogged down.
  26. The film’s accumulation of unnecessary complications, bad visual choices, one completely superfluous character (LaBeouf), and tonally inappropriate quips makes us distractedly ponder the limits of human rather than artificial intelligence.
  27. Terrio's technically proficient film is mature, modern, and minus the all-important passion and risk.
  28. The show delivers with its corps of dancers, backup singers, elaborate runways, and a couple tunes by boy group, the Jonas Brothers, who do their thing while the fictional Hannah makes the backstage transition into the flesh-and-blood Miley.
  29. The documentary hasn’t the depth of another study of high school ball, "Hoop Dreams,"' and tends toward repetition, but, in the end, its heartfelt saga scores.

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