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 Tuvalu
Lowest review score: 0 Dumb and Dumberer: When Harry Met Lloyd
Score distribution:
6983 movie reviews
  1. Moreover, dark as Better Days gets – and it is often an uneasy watch because of its delicately-handled themes – there's still a hopeful story about how honesty and courage and fix even the most broken systems.
  2. The Good Liar is a pleasantly playful thriller hiding a seriously shady history close to its benighted heart.
  3. Anyone expecting truth from Bannon is on a fool's errand, and the floating criticism that there's no confessional here is missing the entire point.
  4. What's disappointing, especially considering Swati's background in dance, is how static the film feels, and how lumpen the story becomes.
  5. While Scandalous ultimately touches upon the tabloid’s plausible impact on the present-day state of affairs, it’s a killjoy way to begin a movie that’s so engagingly lively.
  6. Although it’s no doubt intentional that Driver plays Jones as tireless and single-minded, the overall narrative of The Report might have been helped by more character-building.
  7. The ensemble cast is uniformly first-rate, but Sachs' moribund movie is a slog – all those scenes of Frankie’s friends and family wandering through the woods made my feet hurt.
  8. It’s the rare movie that doesn’t trivialize a platonic male relationship with buddy film tropes.
    • 52 Metascore
    • 67 Critic Score
    Charlie’s Angels isn’t revolutionary by any means, but for today’s Gen Z, it’s a jumping-off point.
  9. He's (Flanagan) never trying to one-up Kubrick or King. Instead, he's trying to push past his own best work, and he may well have achieved that in one supernatural scene that is as shocking and captivating as the fall of the bent-neck lady. In honoring both Kubrick and King, Flanagan's greatest achievement is not being swallowed by the Overlook's shadow.
  10. This mirthless comedy about a manly crew of smokejumpers helplessly babysitting a trio of rescued brats has more dead air in it than a radio broadcast hosted by a narcoleptic disc jockey.
  11. Midway does a decent job of cramming in not only the eponymous three-day naval battle between the United States Navy and the Imperial Japanese Navy but also treats the audience to a wealth of other, related Greatest Generation’s greatest hits.
  12. But you know what? It works. Director Paul Feig is not unfamiliar with traversing these waters of a slap and a tickle. He’ll give you the Christmas cheer and also the realities of life, and it’s helpful that Thompson and Kimmings have razor-sharp instincts when it comes to that short, sharp, shocked brand of British humor that we all love so well.
  13. It's absolutely at its best as a predictable if pleasurable story of unlikely success. In those slight and joyous moments, this Cyrano is definitely something to touch the heart.
  14. Bar a brief boost from his performance as Konstantin Kovar in "Arrow," nothing can save Dolph Lundgren from C-grade hell, digital squibs, and schlocky crime flicks like Acceleration.
  15. Denying Scorsese's raw talent and experience as a filmmaker would be insanity – although the decision to digitally de-age his actors proves the technology is still spotty, and works best in long shots. But that the only major film made in America this year about unions dredges up Hoffa again, and the Italian American community is yet again made synonymous with organized crime, seems tone deaf and self-indulgent.
  16. If the screenplay pulls at threads that don’t always pay off, the actors and the thoughtful cinematography of veteran Dick Pope always ensure that there’s something engaging to watch onscreen. A sequence set in the jazz club, during which the jumpy music and Lionel’s mental and physical state merge into an intuitive singularity, is a real standout.
  17. Terminator: Dark Fate is personified in the Rev-9. The new terminator is a nanite skin over a combat endoskeleton. It should be two for the price of one: Instead, it's the chassis of the original draped with the flesh of Robert Patrick's "Judgment Day" liquid metal shapeshifter. It's everything you loved before, just awkwardly kludged together.
  18. Like a classroom history lesson, the script by director Lemmons and Gregory Allen Howard dutifully recounts the life of this extraordinary person. The movie feels prosaic, although Tubman’s occasional intonation of a timeless spiritual in lieu of dialogue is an unexpected lyrical touch enhanced by the purity of Erivo’s voice.
    • 31 Metascore
    • 50 Critic Score
    Surprisingly, Countdown works best when it operates less as a Nineties horror homage and more as a modern horror-comedy.
  19. Portals feels like a first pass at a bigger idea, and a framing mechanism that takes a wild series of closing turns sets up a much bigger – and darkly interesting – universe. In that way, Portals promises more in future than it delivers here.
  20. An abundance of color is present in Pain and Glory but the shades are more muted than Almodóvar’s early color-saturated work. Thematically and visually, this film has more in common with such Almodóvar dramas as "All About My Mother" and "Talk to Her." Pain and Glory is ultimately the story of an artist on the verge of a creative breakthrough.
    • 83 Metascore
    • 89 Critic Score
    When looking at the one-two punch of The Lighthouse and "The Witch," Eggers seems to find inspiration in how superstition and folklore blurred the boundaries of human knowledge throughout history. His characters live in the space between mankind and mysticism, where things like witches and mermaids can (and maybe even do) gain access to our homes.
  21. Absurdist humor abounds throughout a story whose underlying themes echo Elvis Costello’s eternal question, “What’s so funny ’bout peace, love, and understanding?” even as corpses dangle from a foregrounded gallows.
  22. It can be an incredibly entertaining romp through the picket fence yards of an America that only exists in our collective unconscious.
  23. The Current War is a remarkable period piece, one that evokes the transition from the era of soot and gaslights to the electrical age. The script by Michael Mitnick does not take sides, instead letting the two forefathers of the age of amperes jostle for a multitude of reasons: commerce, ambition, greed, intellectual drive, hubris, and a genuine aim to make the world a better place.
    • 54 Metascore
    • 30 Critic Score
    Black and Blue is almost incoherently edited, dumping out chase scenes where characters round corners and enter rooms with absolutely no sense of spacing or location. That, plus a predictable number of digital squibs, prevents the film from connecting as either art or entertainment.
  24. In a year when the coy social mores of upstairs and downstairs have been filtered once again through the aristocratic monocle of "Downton Abbey," it's a relief that there's a film this year that tackles the servant/master relationship with the straight-for-the-jugular malice of Parasite.
  25. Whether you view it as a trenchant treatise on the contemporary effects of Marxism, or just a wonderfully odd glimpse into a fading star of the fashion industry, Celebration is at turns beguiling, fascinating, and true, which is what one should want and need out of a documentary.
  26. As sequels go, Double Tap delivers the goods, but exists in a realm that feels more like a second serving than a new taste treat. It still tastes good, but nothing ever replicates the joy of the first bite. Just ask a zombie.

Top Trailers