Austin Chronicle's Scores

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:
8778 movie reviews
  1. Christina Applegate, of Eighties white-trash pinup fame, is a comic foil par excellence, delivering a snazzy, self-assured performance that lands the biggest laughs in a movie made mostly of hollow chuckles. She, in fact, is the sweetest thing in this sour, sucky film.
  2. Franklin injects life into a flat format and has in the process done something nearly unheard of in Hollywood as of late: He's brought class back to the genre film.
  3. A gleefully overplotted crime yarn that channels in sanitized form the perverse subtropical-noir sensibilities of Carl Hiassen.
  4. The laugh-out-loud jokery is in short supply, and Reynolds and Reid's kicky charm only goes so far. Bluto Blutarsky, we miss you.
  5. The kind of movie that gives "chick flicks" a bad reputation.
  6. Doesn't break any new ground in the baseball movie playbook. However, it does bring it all back home with the assurance of seasoned pro.
  7. Although little is ultimately “solved” or demystified in The Piano Teacher, the movie allows a chaperoned peek into the mind of one of civilization's “discontents.”
  8. Faultlessly truthful in its observations.
  9. It's good -- no, great -- to see Williams as a mean rat bastard.
  10. Feels like a Fincher film: It possesses the same smarts, the same visual panache, the same violence. But not the same heart.
  11. Pack the kids off to the multiplex with an easy conscience and forgiving critical sensibility.
  12. Square peg, round hole. That's what the twentysomethings who drift through Margarita Happy Hour are like.
  13. The logic of it all will be Greek to anyone not predisposed to the movie's rude and crude humor.
  14. Winning and emotionally punchy film.
  15. Invades theatres with its fangs bared for action. It's bloody hell and we love every minute.
  16. A small-scale pleasure, a movie that truly stops and smells the roses.
  17. Doesn't say much of anything at all about the Balkan conflict -- it's more concerned with MacDowell's shattered face and Brody's passionate, paranoid whinny, which, come to think of it, is just good enough.
  18. The collective charisma of Robert De Niro, Eddie Murphy, and Rene Russo is the only reason to slap down eight bucks for this limp action/comedy, but then, it's difficult not to want to avert your eyes out of embarrassment for the trio.
  19. Is this the future of horror or just some bizarre fluke? Don't ask me, I'm having too much fun to care.
  20. Has a heart bursting with good intentions, something that goes a long way in dimming from memory its inherent routineness.
  21. The unnecessary nastiness, even sadism, of much of the violence also bears mentioning if you're expecting more of the benignly cartoonish silliness of Cube's lone directing effort, "The Players Club."
  22. Remains little more than a briefly fascinating curiosity, a travelogue for those of us who can't actually attend.
  23. The film's two saving graces are the time machine itself -- a gorgeous, whirling array of burnished copper and blazing light -- and the CGI-created rise and fall of New York City.
  24. Ultimately, though, We Were Soldiers fails to bring as much to the table as it at first seems it might.
  25. Doesn't do much to further distinguish Lehmann's career. As for those of us waiting for the year's first worthwhile date movie, the wait continues.
  26. One glance at the cast should be enough of a recommendation for any film lover -- it's Winger's first time on the screen in seven years, and Howard deserves a nod or two if only for getting his wife back in front of the camera where she so clearly belongs.
  27. Very little here begs to be paid attention to.
  28. The whole film suffers from a serious case of overplotting, perhaps inevitable when trying to cram two largish novels into one smallish film.
  29. It's neither the fulfillment of our worst fears nor the surprise of the week.
  30. So upbeat it might as well arrive on a sunbeam.

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