Austin Chronicle's Scores

For 6,745 reviews, this publication has graded:
  • 39% higher than the average critic
  • 2% same as the average critic
  • 59% lower than the average critic
On average, this publication grades 7.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 The Farewell
Lowest review score: 0 House of the Dead
Score distribution:
6745 movie reviews
    • 57 Metascore
    • 78 Critic Score
    At its strongest, Charlie Says remembers that true justice is never easy, nor should it ever be. Its importance is in Harron asking those very questions, putting the audience in the uncomfortable position of contemplating at what point punishment is enough, and that gives Charlie Says true worth.
  1. A moment, please, to appreciate that 47 Meters Down: Uncaged contains a landmark in shark attack cinema (which is a genre, don't question me). Finally, a film has dethroned Deep Blue Sea for the title of "dumbest and most hilarious chomp-chomp moment."
  2. One of Linklater’s greatest filmmaking instincts involves his casting decisions. Newcomer Emma Nelson is a real find as Bernadette’s daughter. Although Blanchett’s performance seems a bit mannered and slightly reminiscent of her Oscar-winning performance in "Blue Jasmine," these are hardly flaws when the outcome is so riveting. Wiig beautifully toes a difficult line between drama and comedy. It’s a line similar to the one etched by this film: an emotional crisis mixed with laughs.
  3. Luce’s power is that it refuses to ever pander to absolutes. Its commitment to ambiguity, to complexity, is defining.
  4. While Good Boys has some interesting moments of reflection, make no mistake that this is a film about fart jokes and having 12-year-olds say “f**k” a lot.
  5. The film is sure to be of interest to anyone who wants to learn more about the beginnings of the California folk-rock scene. Crosby’s reflections are interesting, if not always illuminating. Crowe asks probing questions, yet the answers Crosby provides don’t dig very deep.
  6. This is the rare movie to acknowledge the impact popular music can have on our lives, particularly during the period of your life when you’re struggling to figure out who you are and – more importantly – who you want be.
  7. McCarthy and Haddish never seem to find that balance, leading to erratic performances that serve the moment rather than the scene.
  8. None of the characters are awful, even in their selfish lows. Leonard is blithely affable, backed by his occasionally useful sidekick, Courtney (Awkwafina), so it's OK that he sides with Red (much as Red resents it).
  9. The overall vibe is JV-squad swashbuckling, evoking "The Goonies" and the "Indiana Jones" films for a tweens-and-under demographic, and all without the exhausting quippiness of the "Lego" franchise.
  10. Ultimately undone by some less than remarkable character development and an unnecessary, if currently contemporaneous, pseudo-political undertones. Which isn’t to say it’s not a blast to see Gammell’s eerie, Francis Bacon-esque illustrations come to herky-jerky and horrifying life, because it is, absolutely.
    • 76 Metascore
    • 89 Critic Score
    There is a confidence and a self-assuredness on display in Kent’s second feature that was only hinted at in her first. From her unflinching examination of the dual standards for gender and ethnicity to the film’s lush compositions, The Nightingale is a tough watch, but one well worth the ugly brush with sexual violence and trauma.
  11. While never screaming its message, the script by first-time feature directors Britt Poulton and Dan Madison Savage still finds a way to damn the sin more than the sinner.
  12. The Peanut Butter Falcon may lack depth and subtlety, but you can always feel the beat of its heart.
  13. Of course it helps tremendously that Willem Dafoe plays Pasolini. Just as he did with 2018’s "At Eternity’s Gate," in which he embodied the artist Vincent van Gogh, Dafoe brilliantly captures the essence and a more-than-reasonable resemblance to the real figures.
    • 43 Metascore
    • 67 Critic Score
    Although predictable, the story still manages to pack an emotional punch and depending on your level of relatability to Swift’s hardships – cancer treatment, custody battles, a stagnant career – it might hit harder than you expect.
    • 78 Metascore
    • 67 Critic Score
    Paradoxical as it might seem, this planet suffering from human activity requires even more human activity if there’s any hope of saving it. National Geographic documentary Sea of Shadows is hell-bent on reminding us of that fact.
  14. Summarizing is futile. The Mountain has productive veins of ore for those willing to mine it. But be aware that finding gems will require sweat equity.
  15. Ultimately, it asks the one vital question: Was Wallace worth his cost?
  16. Sweet, wild, and openhearted, Diamantino is as charming as its muddle-headed protagonist. He may be football's version of a bear of very little brain, but he's the only one with a clear thought in his head.
  17. The exquisitely precise direction by Seligman (making an impressive debut here), the trim editing by Eric F. Martin, the gorgeous nighttime cinematography by Matthias Schubert – all contribute to an eerie otherworldliness in this beautifully executed opening sequence of Coyote Lake. As you witness it, you wonder: Is this a real place in a real time, or some metaphysical state of mind? The movie has barely begun, and you’re utterly intrigued.
  18. For a comedy about an old weapon with a dulled blade, Sword of Truth is razor sharp in just about every way.
    • 60 Metascore
    • 50 Critic Score
    When director David Leitch (Atomic Blonde, Deadpool 2) eases up a bit on the self-satisfied action beats  – Hobbs and Shaw spent almost every fight sequence jockeying for literal or metaphorical position  – the film finds exciting ways to lean into Johnson’s larger-than-life physique.
  19. Once Upon a Time is an elegiac mash note to Hollywood 1969, at times sublimely, almost surrealistically moving while simultaneously managing to be the director’s funniest and least violent film to date.
  20. This riveting documentary about powerhouse never-say-die Aussie yacht skipper Tracy Edwards is every bit as thrilling and emotionally grueling as "Mad Max: Fury Road." And it’s all true.
  21. While the film will be of acute interest to jazz fans, the film offers up an object lesson in how contemporary documentaries function in the 21st century. Comprised of the requisite talking heads, archival footage, and the shotgun blast of endless photographs of iconic moments, the film delivers a perfunctory tableau that is right at home with the programming on The History Channel (with fewer Nazis, of course).
    • 90 Metascore
    • 100 Critic Score
    Sometimes, the movie argues, it’s the things we don’t say that prove how much we care. Billi’s path to acceptance of this makes The Farewell one of the most heartfelt homecoming films in years.
  22. Fortunately Trespassers has Balk, who adds just the right dose of slow-acting venom into proceedings.
  23. The Spy Behind Home Plate is a documentary that should appeal to anyone with an interest in stories about the Golden Age of baseball, World War II spy missions, and unusual corners of American Jewish history.
  24. This footage is essential to this film, allowing us to view Marianne as a solo human being and not just as a muse to a great man. It is she who first noticed the figurative beauty of a nearby “bird on a wire,” not he. Yet this is also how the movie fails. Praiseworthy for finally providing some three-dimensionality to the figure of Ihlen, the film doesn’t go far enough in examining the plight of the muse.

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