Austin Chronicle's Scores

For 5,966 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 Raging Bull
Lowest review score: 0 All's Faire in Love
Score distribution:
5966 movie reviews
  1. There's no denying that Pacino's performance is superb. The rest of the movie plays like a bunch of inconsequentially strung together sequences.
  2. There’s a surprising – and truthful – melancholic undercurrent to Definitely, Maybe – the one commonality between the three women is the heartbreak they induce – but Brooks undermines that truthfulness with a dogmatic insistence upon romantic mythologizing. No maybes about it: The reality is far darker, and more interesting.
  3. Magic Trip comes off nearly as scattershot as the events it depicts, which is a major stumbling block.
  4. Occasional animated inserts inspired by Chantry’s work as an illustrator, while accomplished, inject an off-note of whimsy that doesn’t quite square with the script’s stabs at edgier humor.
    • 59 Metascore
    • 50 Critic Score
    The result is either a brilliant bit of idol worship satire or a sign of the apocalypse. Despite the sad fact that audiences will surely settle for this watered down, kind of funny attempt at the genre, I couldn't help but enjoy the ride a little.
  5. Unfriended provides a modicum of chills and more gore than you’d expect.
  6. Truth is, once again, stranger and far more interesting than fiction, but Stewart, whose youthful idealism makes for passionate but uneven filmmaking, should scuttle further oceanic pedantry and focus his lens on Watson's "good pirate" efforts to sabotage the "bad pirates" and save the sea.
  7. Parents might appreciate a lighter hand with the barnyard whimsy and food fights, but overall the movie doesn't condescend about heavy matters (grief, healing, and blended families) and is pleasantly diverting.
    • 59 Metascore
    • 50 Critic Score
    A sumptuous yet unexceptional story.
  8. It all adds up to a peculiar whole; fun I suppose, but not what you'd call a picnic.
  9. Many questions occur to the viewer along the way but are never addressed by the filmmakers.
  10. Despite the film's abundant gory effects, its best technical achievement may be its English subtitles, which move about the screen for better visual and emotional impact, and sometimes dissolve into poofs of blood or other colored effects.
  11. Although To the Wonder never transported me, personally, to the ecstatic heights the title promises, there is still much here worth one’s engagement.
  12. In the end, while both of these performers look great together, they really don't seem to belong together. And that's the biggest hitch in Hitch.
  13. May not be grade-A prime, but it ain't chopped liver either.
    • 58 Metascore
    • 40 Critic Score
    It’s all so quaint to the point of being anachronistic, and considering the dearth of truly family-friendly fare in the marketplace, it arrives just in time to hold wee ones and their parents over until "The Boxtrolls" arrives at month’s end.
  14. There's much to enjoy here – Ratner's pacing is fluid and fast and the film rushes along its busy, cluttered way with something approaching melodramatic snarkiness – but it's also terribly busy and cluttered.
  15. Perhaps the most vexing flaws in this movie are its irresolute plot structure and tone.
  16. This current film smartly adds material that keeps it up-to-date with the reality of today’s sophisticated electronic surveillance. The series may become a marker by which we come to gauge the future disappearance of all personal privacy. For the sake of the series’ endurance, I hope so, but for the sake of the rest of us, I hope not.
  17. In its rush to push hot buttons, Disclosure neglected some essentials of good storytelling.
    • 58 Metascore
    • 50 Critic Score
    It is all very fanciful and droll, a mildly subversive and ramshackle Scandinavian version of the "Grumpy Old Men" on-the-road formula.
  18. Uneasy blend of the extreme visuals of director Ken Russell and the bloated dramaturgy of writer Paddy Chayefsky (who disowned this adaptation of his novel).
  19. By the film's climax, following the plot movements has become merely complex rather than suspenseful.
  20. Once the film gets cooking, the questions never stop. For instance: When you find the dead body of someone you love, isn’t your first call to the cops?
    • 58 Metascore
    • 50 Critic Score
    The most frustrating films are the ones that reach desperately for something great, but fall just short of capturing it. In his dark and twisted narrative debut, The King, British director James Marsh's reach extends so far we can hear his muscles strain, yet what he's reaching for is never quite clear.
  21. Adams is absolutely winning in this role, which requires her to be a tough-as-nails attorney, grownup tomboy, and psychologically scarred adult. And she makes a good foil for Eastwood, though it's often uncomfortable to see the actor going through melodramatic paces.
  22. It takes creepy, spooky, and altogether ooky to a hideous new level.
  23. The yuppie dream of an unencumbered life where style always exceeds substance is at the crux of The Object of Beauty. Partly likable and partly odious, your reaction may depend on whether, like the proverbial glass of water, you see their lives as half empty or half full.
    • 58 Metascore
    • 40 Critic Score
    Ultimately, Under Siege isn't much because, basically, with Seagal as the star there's no real human center. But Davis, playing to Seagal's strengths, has woven a carefully crafted confection around the star, who has enough moves to hold it all together.
  24. By trying too hard to stay on this side of hip and the other side of sentimental, Crowe winds up with a zoo that's neither fish nor fowl.

Top Trailers