Austin Chronicle's Scores

For 7,691 reviews, this publication has graded:
  • 40% higher than the average critic
  • 2% same as the average critic
  • 58% lower than the average critic
On average, this publication grades 7.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 Ran
Lowest review score: 0 Malibu's Most Wanted
Score distribution:
7691 movie reviews
    • 65 Metascore
    • 78 Critic Score
    Honestly, this movie is so pure. Take a couple hours out of your weekend and go feel good.
  1. There’s not enough here to carry the painstaking production design and costuming – a visual feast let down by shortage of meaning. This is a movie about perception, indeed: As beautiful as it is on the outside, the inside is completely superficial.
    • 71 Metascore
    • 78 Critic Score
    I bet Samuel had the time of his life making this, 'cos it shows. It’s violent. Holy crap, is it violent. It’s unrelenting. It’s bleak. It’s also entertaining as hell.
  2. Time may ultimately be kind to Cooper’s first foray into the horror genre, but the present holds nothing but darkness.
  3. This heartfelt portrait, which brings the artist tantalizingly close, will certainly bring greater renown to Dalton. But she remains, stubbornly, unknowable.
  4. An anthology film of five segments, it is an indulgent celebration of that venerable weekly magazine whose collective bylines helped shape the cultural preoccupations of the last century, not to mention informing much of Anderson’s work.
  5. If Villeneuve's grand and epic take evokes any earlier cinematic vision of Dune, it would be the first failed take, which would have seen director David Lean and writer Robert Bolt cross similar wastelands as they did in Lawrence of Arabia.
  6. Though this capable documentary is comprehensively informative in so many ways (perhaps to a fault), the one thing it doesn’t quite convey is the wonder and marvel of the undersea world of Cousteau, which continued to move him until his death at age 87.
    • 78 Metascore
    • 78 Critic Score
    Masie Crow's Sundance-selected documentary thrives on providing such depth and nuance to very real students with very real experiences.
  7. Mass takes the high school shooting drama out of the exploitation rut into which it has fallen, and instead turned it back into a story of people. It's a simple achievement to name, but an extraordinary one in its impact.
  8. Maybe Halloween Kills will make more sense when the finale of the trilogy, Halloween Ends, gives those themes some context. But as a sequel to the deliciously absurd 2018 resurrection, it’s a ponderous bore, far-too-intermittently broken up by spurts of the franchise’s signature gore.
    • 87 Metascore
    • 89 Critic Score
    The Velvet Underground is exactly the movie the Velvet Underground deserves.
  9. While never taking credit away from the other rescuers who also risked life and limb, The Rescue comes back to the bunch of self-described oddballs who got the kids out.
  10. It’s the lack of tension, overlong running time, and ultimately mawkish message that makes Needle a nonstarter.
  11. Based on the folky country song “Just Like Old Times” by Todd Snider, the film feels like a throwback to the heyday of Austin: eclectic acoustic guitars, dingy pool halls, dive bars with fountains of whiskey, neon signs, and lots and lot of late-night tacos.
  12. It’s the sublime and understated performance by Krisha Fairchild (Krisha, Waves) as the aging pot farmer Devi Adler that elevates Freeland past its potential as a tone poem cliche into a far more arresting portrait of the old versus the new and beyond.
    • 33 Metascore
    • 40 Critic Score
    Overstuffed and overextended, The Blazing World is buoyed by the soundtrack (especially the songs by Isom Innis and Sean Cimino in their project Peel), and the too brief appearance by the wonderful Soko. In the end, the film tries too hard.
  13. It’s not frustrating, but then, it’s not quite that engaging. It may spark a little light self-recognition among filmmakers, and that’s all Hansen-Løve seems to aim for.
  14. Focusing her camera on the rising cogs in the machine of China’s insatiable consumer culture, Jessica Kingdon expands on her 2017 short “Commodity City” with the visually stunning feature Ascension.
  15. The Last Duel is a thematic gold mine, one that sits nicely alongside some of Scott’s best work to date.
  16. If you like your affected character dramas with a healthy dose of weird insanity, you may just find yourself head over hooves.
  17. So often, romance subplots in Texas noir feel like afterthoughts, there to increase a little bit of tension. But South of Heaven’s most meaningful moments are in the interplay between Lilly and Sudeikis as the star-crossed lovers with time most definitely not on their side.
  18. Even if it beat Videodrome to the screen by two years, it's not quite the same level of must-see programming. It's fascinating, but less coherent, less scathing, and far more meandering.
  19. It's this overstuffed storytelling, mixed with lackluster pacing, that renders No Time to Die a torturous misfire, and an utterly disappointing exit for Craig's Bond. I hate to say it, but this is Bond's Rise of Skywalker.
    • 48 Metascore
    • 50 Critic Score
    Venom: Let There be Crazy, Stupid Love isn’t a great movie, but it doesn’t matter because it’s just big, dumb, romantic fun.
  20. With the exception of Kroll’s gravelly-intoned Uncle Fester, the voicework is sketchy, with Theron’s Seven-Sisters elocution bordering on sacrilege.
  21. Titane is a dance. Julia Ducournau’s follow-up to her engrossing debut Raw is a flashy, traumatic body horror explosion that is just as gnarly as her first film.
    • 60 Metascore
    • 67 Critic Score
    Although The Many Saints of Newark offers an alluring glimpse into Tony Soprano’s birth under a bad sign, it never shows the blue moon in the mobster’s eyes.
    • 42 Metascore
    • 30 Critic Score
    While this approach might make for an exciting celebration of the genre, it unfortunately leads to a rather lackluster and repetitive documentary unlikely to capture the interest of anyone other than devout followers of Christian music.
  22. Ultimately, The Guilty is a worthwhile remake, even if it fails to perfectly calibrate performance and production.

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