Austin Chronicle's Scores

For 6,121 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 7.9 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Highest review score: 100 The Sweet Hereafter
Lowest review score: 0 The Last Sin Eater
Score distribution:
6121 movie reviews
  1. Mostly Legend just lurches.
  2. Uneven, ineffective mash-up of sex comedy and artillery-heavy action.
  3. While this is hardly "Breaker Morant," it's nowhere near as mawkish or cloying as it could have been.
  4. Enough already with the pointless gun battles that litter Safe like spent syringes in a shooting gallery. No matter how spastically you edit them, you'll never top John Woo's early work, or, for that matter, Sam Peckinpah's. Aim higher, even if it means fewer hits.
  5. It's stoner comedy of the most absurd kind, part fryboy mental drizzle, part wink-wink audience baiting, and wholly, utterly funny.
  6. A mess, albeit one with occasional flashes of brilliance.
  7. What Sayles gives us is a jumble of ideas and stunning performances that never coalesce into a satisfying movie.
  8. This empty-headed comedy about a Playmate who finds herself a house mother to a group of misfit sorority sisters is little more than a recycled version of "Legally Blonde" with bunny ears.
  9. Intelligent and well-meaning, Rendition is nevertheless an oversimplified and uneven attempt to arouse righteous indignation among its viewers.
    • 55 Metascore
    • 40 Critic Score
    Part historical narrative, part epic romance, and part swashbuckling adventure, Rob Roy is overly cultivated, resulting in a stiff, unnatural hybrid that's quite lovely to look at, but lacks spontaneity.
    • 55 Metascore
    • 50 Critic Score
    Bra Boys isn't really a documentary at all but a piece of PR propaganda designed to counteract years of bad press. Beautiful, soaring, exhilarating propaganda, no doubt, but propaganda nonetheless.
  10. It's an ode, of sorts, to Seventies grindhouse cinema, curdled and gooey and tailor-made for midnight showings (preferably with a crowd, preferably intoxicated).
  11. I suppose when you make a movie, however tangentially, about Viagra, you're required to insert at least one scene of its side effects, but the broadness with which Zwick plays it out is like a stake to the heart of the film's hard-earned but fast-lost authenticity.
  12. To call The Crazies the most original horror film in a long while only serves to point out just how lousy mainstream, studio-released horror has become. It's a solid thriller, sure, but there's precious little in it that hasn't been seen countless times before, and in the end it plays it safe … by not playing it safe.
  13. It's Banderas' film all the way, of course: he's one of those genuinely gifted, glowing actors who can nevertheless hold your attention through sheer onscreen charisma.
  14. The film has little flash of life and energy.
    • 55 Metascore
    • 50 Critic Score
    This feature-length joke isn’t for us so much as it’s on us for holding out hope that sheer weirdness might be enough to sustain this lark through to its violent finish.
  15. Exploitative and crass, the film paints an ugly portrait of youth gone wild and the ineffectuality of the police to curb the menace.
  16. The film is at its best when painting the atmosphere and detail of 1953 Dublin.
  17. I had looked forward to seeing King's low men and their hideous yellow coats and monstrous high-finned automobiles, but what we've got here is less King than Goldman, and less fun to boot.
  18. Stuck somewhere between melodrama and the flat tone of an "issues"-oriented television miniseries.
  19. For all its Del Toro touches (Goodwin as a young autistic boy kidnapped by the bugs), Mimic is a surprisingly hollow thriller.
  20. Frustrations abound with this limited film, but Wild Horse, Wild Ride does one thing exceptionally well, and that is convey the emotional bond between trainer and horse.
  21. As the songs pile up and the plot putters along, Romance & Cigarettes wears thin, like a moral for the titular addiction: Sure, there’s the sweet dream of that first drag, but a whole pack’ll do a body bad.
  22. Liberal Arts is not unlikable: There are some intelligent observations about how humans woo, and the film is so suffused with sincerity you want to give it a pat on the head just for trying so hard.
    • 55 Metascore
    • 40 Critic Score
    Guilty of the most mortal of all movie sins: It's dull.
    • 55 Metascore
    • 40 Critic Score
    Just like it is in the world of "SNL" that Fey, Poehler, and McCullers sprang from, the choice gets made time and again to aim not for the high road but for the great, big, fat, juicy, unchallenging, uncontroversial middle ground, where everybody’s laughing but nothing is all that funny.
  23. Hostel certainly delivers in the gore department, and Roth, who knows and loves his favorite genre at least as well as the gang over at the Alamo Drafthouse, peppers the proceedings with various witty in-jokes.
  24. Terribly slight but not unpleasant, 5 Flights Up is hardly worth the climb.
    • 55 Metascore
    • 40 Critic Score
    Pride's story was etched in stone ages ago by mysterious movie powers beyond our understanding, and all the Staples Singers' songs in the world won't keep it from its appointed rounds.

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