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. Inoffensive and sporadically engrossing.
  2. Functions mainly as a big-screen showcase for America's No. 1 teen tease, with the story and other characters serving mainly as accessories.
  3. The exceedingly silly Super Troopers is an earnest, mostly funny spoof.
  4. It's hard to imagine how anyone could remain dry-eyed while watching the scene in which John Q. tries to cram in a lifetime of fatherhood advice in a goodbye speech to his son.
  5. Bad and baffling from the get-go, probably the only good thing to come out of this Rollerball is the boon it gives the porn industry in terms of another ready-made title to spoof.
  6. The movie scores some laughs, all of which come from the expert Giamatti.
  7. Plays like a bad adolescent revenge fantasy on Ritalin, all jagged editorial edges and silly, pumped-up testosterone.
  8. Still, it's worth checking out if only to see Kidman immolate everything else on screen through sheer sexy charisma. Tom who?
  9. A singularly distasteful campus romp.
  10. The film's closing may be less than conclusive, yet The Son's Room must be admired, at least, for its unsentimentality.
  11. Snail-paced and ultimately dull creepy-crawl.
  12. By the time the explosive finale arrives (with a wistful Ray Charles crooning over shots of cataclysmic destruction, no less), you'll be hard pressed to name a recent film with this much action, pathos, and smarts.
  13. Newcomers should be advised that this is not an introductory course.
  14. More fun than Peter Hyams' "The Musketeer," and somewhat less so than "The Man in the Iron Mask," this is middling Dumas all the way.
  15. The film is often quietly humorous.
  16. Takes the giant leap from your run-of-the-mill mediocrity into an alternative universe of awfulness.
  17. Where the hell are those Hollywood Ninja Assassins when you really need 'em?
  18. Will be of interest for anyone seeking unconventional romantic stories as well as those curious about the development of the Dogme movement.
  19. The marketing weasels over at Disney deserve to have their beady little eyes gouged out with flaming icicles for the fast one they've pulled on audiences with Snow Dogs.
  20. Despite an overlong running time and a punishing amount of violence and gore, it's a deeply ambitious picture, one of the most expensive and original to come out of France in many years.
  21. Is nothing if not foreign, but not in the sense of national demarcations of language and custom. It speaks a different cinematic language, one that tosses off the usual rules of camerawork and narrative structure.
  22. The film also inspires, if unconsciously, the viewer to rethink what exactly constitutes art.
  23. Undone by Blanchett's dull, wooden delivery. She's the pap that kills the pulp the rest of the film is bellowing out to be.
  24. It's a bad movie that only a parent could love.
  25. The film is more of an old-school wartime yarn, crackling with the expected camaraderie among the hardscrabble volunteers.
  26. Absolutely harrowing, shocking in its sudden revelatory immediacy, and very, very well done, Black Hawk Down is one of the best depictions of the outright lunacy inherent to battle I have ever seen.
  27. It isn't about where you get, but how you get there -- and the getting there is a chewy delight.
  28. The kind of quiet, effective film that burrows under the viewer's skin and takes root before you've had a chance to realize that it's permeated your constitutional makeup.
  29. It's a consistently entertaining story.
  30. Ali
    Mann's film is beautiful to watch. Cinematogrpaher Emmanuel Lubezki employs a washed-out, harshly lit style that makes everything look vaguely menacing and hyper-real, which is complemented by Lisa Gerrard and Pieter Bourke's Africanized score.

Top Trailers