Austin Chronicle's Scores

For 5,051 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 7.4 points lower than other critics. (0-100 point scale)
Average Movie review score: 54
Highest review score: 100 Force Majeure
Lowest review score: 0 Jack
Score distribution:
5,051 movie reviews
  1. Plenty of fun while it lasts, but its aftereffects are mighty fleeting.
  2. A lighthearted action adventure starring four of the most likable guys on the planet.
  3. A paradox, balancing the contradictions and ambiguities of its characters and setting with a careful hand that rarely falters, even though the film seems dramatically thin at times.
  4. With an over two-hour running time, these side issues come across as unnecessary weight and threaten to turn off the very viewers the filmmakers worked so hard and so ably to win over in the first place.
  5. The film entertains, puzzles, and strays outside the lines.
  6. The U.S. cut, which Wong endorses, runs a slim 108 minutes, and has by all accounts been reshaped for American audiences, who, by and large, don’t have the same foreknowledge of Ip Man, or martial arts, as Asian audiences do.
  7. Never really quite great, it's still a good enough diversion for the family and should please adult fans of racing.
  8. Zombieland is dead set against being dead serious. Its tonal pallor has more in common with a foreshortened "It's a Mad, Mad, Mad, Mad World" than with "28 Days" or "Weeks Later," and then, again, there's that jaw-dropping cameo. It'll kill ya.
  9. The film's closing may be less than conclusive, yet The Son's Room must be admired, at least, for its unsentimentality.
  10. Makes it pretty difficult to tell the difference between good mothers and bad.
  11. Anchored by a terrific performance by Abbass, Satin Rouge shows that the idea of women's self-actualization knows few continental divides.
    • 73 Metascore
    • 67 Critic Score
    The Lookout marks Frank's directorial debut after years of working as a screenwriter on movies like "Get Shorty" and "Out of Sight," and though his new movie may lack the sexual tension and bubbly wit that elevated those films to rarefied heights, there's a newfound, and not unwelcome, sobriety to his writing.
  12. The Hangover instantly has the feel of one for the ages.
  13. A Girl Cut in Two is Hitchcock sans the whodunit, essentially a long preamble of seduction and spiritual ruin, capped by a crime everyone saw coming (and an eye-dazzling coda that twists the title from metaphor to … something else).
  14. Breakdown further illustrates the axiom that every truly original movie must be remade again and again until it achieves a state of sublime, all-encompassing idiocy.
  15. The neo-noir Cold in July operates at a steady sizzle. A body turns up dead before the film’s opening credits: It becomes the opening salvo that propels the characters into a confusing vortex of guilt, revenge, corruption, and vice.
  16. The most memorable David vs. Goliath courtroom showdown in recent memory.
  17. Director Michael Lehmann made a stunning debut with this sharp satire of teen cliques.
  18. With centrifugal force on his side, Spider-Man dips, weaves, and whooshes past, up, and around the camera -- it's a rush, and it plasters a grin on your face even after you've left the theatre.
  19. When The Company owns up to what it is -– a performance piece -– it’s glorious. Everything else -– the window-dressing of a fiction film -– just gums up that gloriousness.
  20. Ray
    No matter the movie's pitfalls, Ray, we can't stop loving you.
  21. Layer Cake is suffused with a stately sense of menace and a sort of doomed existential suave.
    • 73 Metascore
    • 67 Critic Score
    There's a nagging sense throughout Gonzo that, despite his late-life decline into caricature, Thompson was too complex, too self-mythologized, too big, too American to ever fit onscreen – especially in a movie aiming for "objectivity," which was, for Thompson, the worst of all possible words.
  22. All of the major players turn in powerhouse performances, and Fishburne nails his best role yet as Furious.
  23. Isn't quite a home run: The visually flat film leans on a pop culture crutch that probably won't age very well, and the finale – while terrifically funny – feels piped in from another, far sillier movie.
  24. It is certainly competent, lovely to look at, but leaves little lasting impression.
  25. It's all so goddamn realistic and reminiscent of real-life love (and how often does that happen onscreen?) that The Puffy Chair would be hell to watch if it weren't so funny.
  26. The originality of Innocence makes it stand apart from the romantic pack.
  27. Doesn't just raise the bar on sci-fi and action films, it rips that sucker off and sends it spiraling into the sun.
  28. Uses a wraparound story to provide a hint of Glass’ deep-seated pathology, but allows no details about how it came into being.

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