Austin Chronicle's Scores

For 6,983 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 7.5 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Rashomon
Lowest review score: 0 Beverly Hills Cop III
Score distribution:
6983 movie reviews
  1. This solid if predictable courtroom drama is elevated by a terrific cast and impassioned subject matter.
  2. The film is so alive, so joyous and raucous at times, that the empathy you feel for these characters is all the more poignant and the catharsis is well earned. This is a film you fall into, like an embrace you wish two sisters would hold, but one that the world denies them.
  3. Aside from the committee-written script with no coherent perspective, the trouble with Like a Boss is that it never crudely outrages. It’s a bust in so many ways. The halfhearted gender and cultural political incorrectness of Hayek’s ridiculous character makes for halfhearted laughs, and that’s being generous.
  4. An upper-tier addition to a long running horror franchise that arguably deserves better than a January release.
  5. Cunningham adheres to a distinctly romantic approach to the artist: irascible and railing against the hypocrisy of humanity through these wonderful and complicated movements that soar above and beyond.
  6. The only term is relentless, and for a lot of viewers Uncut Gems’ third act has been stressful, even traumatic. My response was more one of sheer awe – of the Safdies’ brilliant balancing act, of Sandler’s swirling dance of a performance, and of Howard’s sprint through a minefield.
  7. There’s nothing to fault animation-wise – Blue Sky’s penchant for migraine and/or dopamine-inducing color palettes and headlong pacing are consistently above par – but, for adults at least, the film’s mushy mediocrity can be a real drag.
  8. Out of a terrific ensemble cast, Pugh (Midsommar, TV’s The Little Drummer Girl) emerges as the star.
  9. Diehl’s performance is a model of restraint; he more often imparts information by a look, a glance, the slump of his shoulders, than he does with a spoken word.
  10. Bombshell’s ultimate punch lands more like a spectacular bottle rocket than a scorching Molotov cocktail.
    • 32 Metascore
    • 30 Critic Score
    Here’s the thing, though: Cats still makes no f.cking sense.
  11. The script never knows whether it wants to be reverential or referential, and ends up being a hodgepodge of cameos and flashbacks.
    • 49 Metascore
    • 67 Critic Score
    For all its political positioning and explorations of institutional violence, the thing that makes Black Christmas most endearing is the strength of its sisterhood.
  12. Jumanji: The Next Level feels like a "BioShock 2" when we were hoping for "BioShock Infinite."
  13. It’s one of the more interesting aspects of Fernando Meirelles’ new film The Two Popes, these peeks into overly regimented and often extravagant ceremonies of the Vatican City being a fascinating glimpse behind the curtain.
    • 41 Metascore
    • 40 Critic Score
    Perhaps if 6 Underground had ended instead of opened with its most imaginative action sequence, much of what came before could have been regarded as a slow escalation of style and substance. As the film is currently constructed, however, 6 Underground feels twice as disappointing for its early success.
  14. It’s Hauser who keeps the movie from tilting over, even though Eastwood and Ray initially seem to patronize the character. The knuckleheaded scene-stealer from "I, Tonya" and "BlacKkKlansman" has the chance here to play a fuller, more rounded character for a change, and he’s unexpectedly up to the task. The performance is an eye-opener. With a little refinement and polish, we may have found our long-awaited Ignatius J. Reilly.
  15. This is a vastly inferior toy-to-film IP expansion, with duller songs, dumber jokes, and forgettable voice work.
  16. A bizarre and imaginative thriller with a sexual and sociological twist.
  17. It’s heady stuff, and Brie Larson’s gentle narration helps you navigate this quite complex topic.
  18. Unfortunately, almost none of that astonishing true story makes it into The Aeronauts, a mangled retelling that cuts out Coxwell and replaces him with Amelia Wren (Jones), a gestalt character based on several women aerial explorers of the time.
  19. Morrone is superb in the part, exuding a sort of saintly solitude while caught up in the midst of turmoil from within and without. Even at its most dire, Mickey and the Bear is tinged with an almost holy hope for all involved, a rare and remarkable feat to pull off so well for a first-time director indeed.
  20. Queen & Slim artfully weaves together a lovers-on-the-lam crime story with very trenchant Black Lives Matter thematic content. It is a perfect movie for our times. It grabs you by the scruff during its flawless opening sequences and never lets go, despite some episodic contrivances that occasionally cause it to feel overplotted.
  21. The movie’s wit and energy hold your interest, but they don’t spark the pleasure of the unexpected, the thrill you felt in "Laura," "The Last of Sheila," "Chinatown," "The Sixth Sense," or the 1974 adaptation of Christie’s "Murder on the Orient Express" (not Kenneth Branagh’s inept remake), movies whose big reveals surprise you in their elegant simplicity.
  22. Divorce severs this marriage like the dull blade of a knife cutting through the tiers of a wedding cake.
    • 51 Metascore
    • 67 Critic Score
    If you can describe something as a B-action movie and not mean it as a derogatory phrase, then this is probably the thriller for you.
  23. A Beautiful Day in the Neighborhood brings that essential essence of Fred Rogers to life. That sense of wonder, of kindness, and most importantly of letting kids – and adults – know that it's OK to have been hurt. Heller and Hanks remember that Rogers was not about being perfect, or pretending that bad things don't happen. It's about liking people just the way they are.
  24. As if the dazzling performances and audaciously intertwined storylines weren’t enough, Waves is a visual stunner, too, thanks to director of photography Drew Daniels, whose restless, reckless camerawork paints a family tragedy in dizzying, near-psychedelic hues, mirroring the increasingly frenetic storyline.
  25. If Honey Boy was just the actor doing primal scream therapy at the camera for 93 minutes, we'd arguably be obligated to watch it. But that he delivers a captivating, haunting, and brutally honest exploration of a life we think we know.
  26. What is notable is how the film gives children a framework, and the language, to process this act of violence, same as it does the pain of grief, the bitter rub of mortality. I don’t know if that sensitivity will translate to a gajillion more princess dresses sold, but as a teaching aid for kids – a tool for taking on more adult concerns – I found it surprisingly impactful.

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