Austin Chronicle's Scores

For 4,734 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 7.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 54
Highest review score: 100 Capturing the Friedmans
Lowest review score: 0 Captivity
Score distribution:
4,734 movie reviews
  1. It isn't about where you get, but how you get there -- and the getting there is a chewy delight.
  2. Instead of using actors, Greengrass employed many of the actual air traffic controllers and military commanders who were on the ground that day. Also aiding his film's universality is Greengrass' use of little known actors in the central roles, preventing stardom from affecting our ideas about heroism and patriotism.
  3. It's unusually provocative and challenging for a Hollywood movie and, surprisingly, allows the audience to piece things together without too much external direction.
  4. By the end of the movie, it’s no longer possible to know anything with certainty -– so convoluted, contradictory, pathological, and long ago have the events become. It’s a movie that will have you talking and thinking for hours.
  5. It’s a juicy role for any actress, but Lawrence takes it two or three steps further than anyone else who comes to mind could. She’s a true original, a rara avis with beautiful plumage.
  6. Though you might have a hard time discussing some of the film’s verbal descriptions of torture with young ones, Persepolis will prove a worthwhile movie for thoughtful teens.
  7. It comes as little surprise that Errol Morris and Werner Herzog, both masters of sly documentaries in which the subjects nail themselves with their own words, are the executive producers of Oppenheimer’s film.
  8. A lovely, quietly thrilling thing.
    • 89 Metascore
    • 89 Critic Score
    Like all great screen performances, Mühe's magic comes out most in its tiniest moments: a raised eyebrow here, a slight upturn of the lips there. It's a triumph of muted grandeur; it's like watching someone being born.
  9. I don't know if the many plot swerves withstand a second viewing, but I suspect the meat of the matter – the swooning visuals, the expert choreography, the teasing love story – does.
  10. Hauntingly beautiful film.
  11. This feature-length expansion of Cohen's deliciously ridiculous character accomplishes what decades of Soviet propaganda failed to do: It points out and underscores issues of race, religious intolerance, classism, and all manner of very American social ills by giving the culprits just enough rope to hang themselves by their own petards (and then some).
  12. It's enough to make you weep.
  13. Bahrani's small marvel of a film.
  14. What's so intensely pleasurable about The Artist, however, is not its predetermined seriocomic trajectory but the endless parade of smartly creative and self-referential gags, which include all manner of sly, silent delights; the inevitable Jack Russell; and even an extended orchestral cue of Bernard Herrmann's, cribbed outright from "Vertigo."
  15. The wonder of The Piano is that such an outwardly simple story could emerge into such a complex swirl of lingering memories.
  16. A delightful little wormhole that takes us on a journey to another dimension of consciousness.
  17. The humanistic approach makes Eastwood's movie a war story for the ages.
    • 88 Metascore
    • 89 Critic Score
    Ultimately, Once transcends even its own ambitions, becoming a complex meditation on relationships, Irish culture, and music.
  18. Ghost World resists convenient closures and summaries and some may take issue with its open-endedness. But anything else would have been phony, and Enid would never have stood for it.
  19. This modern cult classic is a triumphantly dark comedy directed by one of the film world's truly original visionaries, Terry Gilliam. "Imagination" is this futuristic film’s middle name.
  20. The fault does not lie with Hoffman (who doesn't so much act out Capote's distinctive mannerisms and high-pitched lisp as channel them); his performance is undeniably great. Everything else – solid, satisfying though it may be – falls short of that greatness.
  21. Amid the increasingly horrific images of daily ghetto life are moments of utterly unexpected, haunting beauty, including a reel of color film that does more to humanize an inhuman situation than anything I've ever seen.
  22. Blue Is the Warmest Color has its wobbles, but Exarchopoulos will knock you sideways.
  23. Faultlessly truthful in its observations.
  24. This is a movie to love, that touches you in places you never suspected, that shows you that the road less traveled is the road to your dreams.
  25. A phantom of a movie whose beautiful flakes fall into the deep crevices of memory long after the seasons change.
  26. This is the sort of masterpiece that will obliterate memories of lesser, later efforts in the "meeting the parents" comedy lineage. Brilliant.
  27. God forbid this should ever play on an IMAX screen -- the concussive soundtrack and relentless visuals would likely strike viewers deaf and blind (but what a way to go!). Simply breathtaking.
  28. Absolutely delightful filmmaking, chock-full of gorgeously goofy animation and a storyline that cleverly echoes everything from "Stalag 17" to "Cool Hand Luke."

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