Austin Chronicle's Scores

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For 8,787 reviews, this publication has graded:
  • 41% higher than the average critic
  • 2% same as the average critic
  • 57% lower than the average critic
On average, this publication grades 6.8 points lower than other critics. (0-100 point scale)
Average Movie review score: 58
Highest review score: 100 The Searchers
Lowest review score: 0 Gummo
Score distribution:
  1. Positive: 4,781 out of 8787
  2. Mixed: 2,559 out of 8787
  3. Negative: 1,447 out of 8787
8787 movie reviews
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  1. Solitary Man
    The actors are all charged up, too; there’s just nowhere in this script for them to go.
  2. The Garfield Movie
    It’s not that it’s unfunny or completely without charm: it’s that the script feels like an abandoned The Secret Life of Pets sequel into which Garfield has been crowbarred.
  3. Julien Donkey-Boy
    Julien may be a donkey-boy but it's Harmony Korine, this film's director, who is a horse's ass.
  4. He Named Me Malala
    Don’t come to this documentary expecting to learn more about the girl named Malala.
  5. Sleepless
    Sleepless is a passable thriller, but it won’t keep you up for nights.
  6. Chloe
    While Chloe may seem reminiscent of Egoyan’s outlandish thriller "Where the Truth Lies," it also calls to mind another would-be thriller about marital infidelity that starred Neeson and was utterly ludicrous: "The Other Man."
  7. Medicine Man
    Stunning rainforest vistas and shocking ravaged forest footage matched to what was probably a pretty funny script featuring one fine performance and too obvious good intentions adds up to tedium.
    • 45 Metascore
    • 40 Critic Score
    The Marine
    Patrick leaves no scenery unchewed, and, in doing so, he gives life to an otherwise by-the-book script and proves once again that in Hollywood, it’s usually the bad guys who turn out to be the best characters.
  9. Knock Knock
    Knock Knock is a nasty bit of business, and fans of Roth are not likely to be disappointed. But for everyone else, the joke's on them.
  10. Den of Thieves
    Although it has the smell of self-importance, like a Michael Cimino movie on steroids, Den of Thieves ultimately fools no one. It’s all about the guns.
  11. Fatale
    As improbable as Valerie’s endgame seems once revealed, it plainly demonstrates she’s nobody's chump. It’s not exactly a feminist reading, but one that gives Fatale a little backbone.
  12. Listen Up Philip
    The antithesis of a feel-good movie, Listen Up Philip is a challenging experience, largely because it refuses to compromise its protagonist’s dogged preoccupation with himself.
  13. The Boss Baby: Family Business
    It’s overwhelming, but there are a few nice touches that aren’t completely lost in the bedlam.
  14. RoboCop
    While retaining the core story of a bionic man tormented by the memory of his former human life, the film doesn’t play with the concept or give it new dimension. The whole enterprise raises the question: Why do filmmakers insist on remaking movies for no good reason?
  15. 99 Homes
    Iwish I could say 99 Homes delivers a shockingly good sucker punch to the American electorate and a stand-up-and-cheer piece of socially conscious filmmaking, but it’s not. It lacks the satisfactory denouement of, for instance, Michael Mann’s The Insider (and Garfield is no Russell Crowe), in part because the events it depicts are still happening across the country (albeit to a lesser extent).
  16. Love & Sex
    The script negates anything heartfelt with its flippant, almost vulgar tone.
  17. Surf's Up
    There's nothing terribly wrong with Surf's Up, except maybe the part where one character calls another a "dirty trash can full of poop." But the movie isn't terribly robust, either.
    • 46 Metascore
    • 40 Critic Score
    The Comedy
    The film retreads much of the anti-comedic territory already bulldozed in Heidecker and Wareheim's own "Tim & Eric's Billion Dollar Movie," retaining the scatological flavor but none of the surrealism.
  19. Mighty Joe Young
    Paxton, as always, is thoroughly engaging, and Theron is coming into her own as an actress, but the bottom line here is that the film lacks the original's goofy good humor. Less effects and more humanity are in order before this remake can even get within spitting distance of the original.
  20. Vampire Academy
    It’s not a complete disaster, but even the appearance of Gabriel Byrne, as Lissa’s uncle Victor, fails to make much of a dent in the slapdash proceedings.
    • 43 Metascore
    • 40 Critic Score
    All I See Is You
    A few scenes are inexplicably bizarre (why is Gina’s brother-in-law covering his naked body in red paint while staring at a sculpture of a bull?). It’s as though someone came along and said, “Just make it artsy as f*ck.”
  22. City by the Sea
    The biggest shame in this movie is how it wastes Frances McDormand.
  23. Bartleby
    Comes across as stiff and uneven.
  24. The One
    A “thrill ride” movie with all the predictability, brevity, and industrial efficiency that cliché implies.
    • 45 Metascore
    • 40 Critic Score
    The Chamber
    An adequate, inoffensive thriller that, every so often, shows itself to be a little smarter than it needs to be… even if it isn't often enough to make this thriller anything more than average.
  26. Walk on Water
    Walk on Water makes you wonder what the Mossad is teaching its field agents these days.
  27. Suicide Squad
    There’s no one to root for in this movie, and no one whose prospects we care about. Several plot points lack coherence, and inserted flashbacks add to a sense of the film having been fused into shape in the editing room. It seems that Suicide Squad was done in by its own hand.
    • 25 Metascore
    • 40 Critic Score
    License to Wed
    It goes without saying that this will be no everyday marriage class, not with a hyperactive Williams setting the curriculum.
  29. The Foot Fist Way
    By the time Foot Fist limps to its ultimate fighting climax, you'll likely wish you had double-teamed "Game of Death" and "Waiting for Guffman" instead.
  30. The Marvels
    Worse, the Marvels themselves have any potential chemistry drowned like an Atlantean with blocked gills. All the giddy charm of the Ms. Marvel version of Kamala Khan is lost in a torrent of fannish shrieks, while the demand that the audience feel empathy for grown adult Monica Rambeau who's still pouting that Auntie Carol never came back (Auntie Carol, who was literally off saving the cosmos) is wearisome.
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