Austin Chronicle's Scores

For 5,736 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 7.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 Volver
Lowest review score: 0 When in Rome
Score distribution:
5736 movie reviews
  1. Although several great speeches and hilarious one-liners goose the film, God Bless America nevertheless peaks too early and becomes rather one-note.
  2. The actors, particularly the icy Bassett and the fiery Devine, excel in their roles and drive home the film's multifaceted messages.
  3. 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.
  4. This sad, dark movie moves across the screen like a sleepwalker, aloof and belonging neither to this world or the next.
    • 56 Metascore
    • 40 Critic Score
    Rosebraugh’s arguments are sound and his heart is in the right place, but his execution is self-defeating.
  5. Overall, the movie stresses the more painful and awkward moments; moments that might be classified as "heartwarming" are rare. This results in a very cynical tone and I suspect that was not the desired effect.
  6. Watchmen is worth seeing, fan or no, for Haley's squirmy presence alone, and all the other characters are also well-served.
  7. This kindly and spirited film doesn't exactly break the mold of the heartwarming, humanistic boarding-school dramedy.
  8. This con artist caper from the writer/director duo behind "Bad Santa" and "I Love You Philip Morris" bears some superficial resemblance to the 2005 romantic comedy "Hitch."
  9. The costume design, however, is the film's most enthralling aspect; replicas of actual Chanel designs were created for the film, and a fresh costume graces nearly every sequence. Alas, Coco Chanel & Igor Stravinsky unfolds on a screen instead of a catwalk.
    • 56 Metascore
    • 50 Critic Score
    The sweetness of spirit and rapidly moving story will keep parents entertained while blessing the kids with a mildly raunchy good time.
  10. It’s hard to completely accept the up-and-coming Wolff as a total geek with no social or love life. With those puppy-dog brown eyes and enticing grin, the guy exudes intelligence and charm from top to bottom of his lanky frame. Up until now, the actor has shined in secondary roles, but in Paper Towns he proves he may be the next prom king.
  11. The Five Senses, despite its good performances, is like looking through a filmmaker's sketchbook: strong outlines but little substance.
  12. As suspicion shifts from passenger to passenger, the film starts to resemble a parlor-room whodunit, while logic becomes its first fatality. Fasten your seat belts before takeoff, because Non-Stop is a bumpy ride.
  13. Animated films have trended toward a perceptive intelligence in the past few years, but Storks wades in shallow waters most of the time.
  14. We all know how it ends, and that foreknowledge dooms Singer's hotly anticipated and much troubled account of the attempt on Adolf Hitler's life.
  15. Never breaks out of its dullsville rut.
  16. Because screenwriter-director Brock fails to create a moving relationship between its mentor and student in life's lessons, the film hardly resonates five minutes after it's over.
  17. Colorful and a passable drama, one that highlights the difficulties of cross-cultural love affairs and the exoticism of the Third World.
  18. Sylvia also makes it seem as though, even at her happiest, she never received much pleasure from life. This makes for a long, slow procession to the oven door -– so dark, somber, and lifeless is this well-intentioned biography.
  19. It's a pleasant enough ride, certainly, but in the end it also has all the wicked emotional punch of Bill Cosby on Quaaludes.
  20. Lost's Evangeline Lilly remains lost, however, in this film role as Charlies's too-good-to-be-true romantic interest.
    • 56 Metascore
    • 50 Critic Score
    For No Good Reason comes alive whenever the camera sits back and records Steadman attacking a blank piece of paper.
  21. This is no more (but no less?) than what we have rather oddly come to expect from Neeson in his late period (Taken, The A-Team).
  22. What The Rum Diary lacks in narrative astonishment it almost makes up for in boozy charm. Depp, Ribisi, and Rispoli are a sight to behold.
    • 56 Metascore
    • 40 Critic Score
    Filth seeks to eventually gain your sympathies, tricking you to care about a character who’s just dragged you through the gutter of human depravity for the last 90 minutes, only to offer up an absolution that, while attempting to be dark and edgy, is just flat and unconvincing.
  23. This Native American romantic comedy, which won the Audience Award at the 2001 Austin Film Festival, arrives in theatres four years late but seasonally right on time.
  24. Hereafter is a consistently identifiable Clint Eastwood movie only in the sense that the prolific filmmaker shows that he still has the ability to confound our expectations of him.
  25. In the end, Meadows' film lacks the bite it needs to make us care about this oddball trio, endearing though they are.
  26. The Coen brothers’ newest is an odd amalgam of tics and stutters that plays like something of a greatest-hits reel but never seems to jell into a real comedy.

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