Austin Chronicle's Scores

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For 8,778 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 6.7 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: 4,774 out of 8778
  2. Mixed: 2,557 out of 8778
  3. Negative: 1,447 out of 8778
8778 movie reviews
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  1. Studio 666
    The Foo Fighters are a rare band that has maintained a roughly decent amount of relevancy decades after rock ruled the music industry. Their self-aware horror-comedy is a sweet ode to their ride, but where Medicine at Midnight brought them a nice wave of good praise, Studio 666 feels like a dud – a horror movie with no good hooks and a rock & roll film that lacks the bombastic energy that’s ever present at the band’s live shows.
  2. Uncharted
    With so many video game adaptations being little more than live-action fanfiction, Uncharted stands out by feeling like an actual movie, mostly eschewing fan service in favor of little organic beats between characters.
  3. The Worst Person in the World
    Julie’s restlessness is anchored by a self-confidence that Reinsve conveys guilelessly and brilliantly.
  4. Strawberry Mansion
    With a modest budget that belies the eye-popping visuals at play, filmmaking duo Kentucker Audley and Albert Birney have affectionately crafted a sweet romance surrounded by the tart crunch of satire.
  5. King Knight
    King Knight is a weird delight, the kind of unlikely low-budget pleasure in which Ray Wise turns up as everybody’s favorite f*cking magician and delivers dancing lessons.
  6. Dog
    Though occasionally emotional, this ain’t no heart-tugging rehash of Lassie Come Home. And there’s something to be said for that.
  7. The Cursed
    The Cursed may be a shaggy tale in places, but its bite is ultimately deep.
  8. A Banquet
    Despite Paxton’s high ambitions to serve up be the next great elevated horror movie, there’s not enough meat on its bones to ultimately feel satisfying when the final holy image is served.
  9. I Want You Back
    What I Want You Back really has going for it is Slate and Day. The set-up may be a Ryan deep cut, but their awkward energy, and shared ability to scattershot subtle one-liners without them getting buried by the sillier antics, harks back to another of her classics: When Harry Met Sally.
  10. Minamata
    In its dour and often depressing depiction of environmental struggle, 1970s-set true-life pollution drama Minimata would pair well with Todd Haynes’ Dark Waters.
    • 51 Metascore
    • 50 Critic Score
    Marry Me
    Marry Me is ... okay. It’s not great. I think I would’ve like it a whole of a hell lot less had it not starred Lopez and Wilson, who are both eminently likable (the supporting cast is okay, too).
  12. Blacklight
    Yet another clunky thriller predicated on having Liam Neeson afford it some form of legitimacy, this Mark Williams-directed film is part political intrigue, part actioner, part family drama – all destined for the bargain bin.
  13. Death on the Nile
    At first, you fear this uncharted emotionalism may undercut the delicious pleasures of Christie’s clever plotting, this one being a particularly nifty stumper, but in the end, it subtly enhances the film without being pretentious.
  14. Jockey
    Any workplace drama (and that’s what it is, more than a sports film) must fit you for the shoes of the laborer, and that’s exactly what Jockey does. It makes you understand why riders would subject themselves to so much pain and poverty in search of what one calls “that one minute where you feel like the most important thing in the world.”
  15. The Long Night
    The Long Night may not be revolutionary, it's definitely got its own dark magic.
    • 73 Metascore
    • 89 Critic Score
    Who We Are: A Chronicle of Racism in America
    The simplest thing to say about Who We Are is that it should be part of the standard curriculum in every school in America.
  17. Moonfall
    Moonfall is bad – the wrong kind of bad – because everything in this formula fails to hold up its end of the bargain. The effects are muddled; the supporting cast is terrible. The only thing Moonfall delivers on is the big ideas, but by the time the movie begins to layer in the sci-fi absurdity, the film is already three-quarters of the way home.
  18. Sundown
    Roth delicately captures the weight of weariness that burdens Neil, as he shuffles the streets in his Birkenstocks, briefly showing signs of life in the company of Berenice. We are locked on to Neil for those signs, and Roth’s performance is utterly absorbing.
  19. The Wolf and the Lion
    The Wolf and the Lion is deeply sweet, utterly predictable, and may well send a few unintentionally mixed messages about human relationships with large predators.
    • 74 Metascore
    • 89 Critic Score
    Jackass Forever
    I don’t say this lightly, but I think jackass forever is exactly what we need right now.
  21. Introduction
    Introduction feels like a mediation on how time chips away at first impressions: What started as something beautiful and simple can become complicated, unattainable, and hard to hold on to.
    • 50 Metascore
    • 30 Critic Score
    GameStop: Rise of the Players
    The obnoxious enthusiasm of Rise of the Gamers (which literally calls the day traders “heroes”) misses the point that those day traders are playing the same game as the big hedge fund managers.
    • 82 Metascore
    • 78 Critic Score
    Poly Styrene: I Am a Cliché
    Poly Styrene: I Am a Cliché is the daughter cinematically coming to terms with their complicated relationship and with a figure who changed our culture.
  24. Last and First Men
    Last and Future Men is a haunting film of melancholic beauty, but hidden within are stubbornly persistent elements of hope.
  25. Clean
    There’s a rumbling, inconsolable guilt at the heart of Clean, the latest from fascinatingly flexible writer/director Paul Solet.
  26. Charli XCX: Alone Together
    The documentary’s sugar rush display of healthy fandom is a rarity, giving the film legs outside its pandemic novelty.
  27. Flee
    In sharing his story with the world, Amin and Rasmussen have given us a truly generous gift.
  28. The King's Daughter
    With a few standout performances and production design that imbues it with a good amount of period shine, it may yet find a receptive audience.
  29. Parallel Mothers
    Melodrama mixes with light-hearted touches, moral dilemmas, and historical reckoning in Almodóvar’s latest.
  30. The Tiger Rising
    Director/screenwriter Giarratana occasionally summons up a lovely moment, although the overall tone is inconsistent.
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