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. Despite earning his bread and butter with genial comedy noted for its family-friendly language and humor, Jim Gaffigan performs laudably in this decidedly dark role.
  2. Ad Astra lacks the quiet, understated contemplation of "First Man," or the heartfelt ruminations of Steven Soderbergh's unfairly overlooked version of "Solaris." Instead, it's got about as much to say about family, attachment, and belonging as a Fast and Furious flick.
  3. An enthralling story on the page, this adaptation fails to capture what good adaptations can: the heart and spirit of a story told in another medium.
    • 79 Metascore
    • 89 Critic Score
    Hustlers is an absolute joy and one of the most refreshing movies you’ll see all year.
  4. Nelson has gifted us with a thoughtful and rich profile which, like a fading note escaping from Davis’ trumpet, leaves us wanting more.
  5. Riot Girls doesn’t disappoint in the mayhem department, and as a meta-story about female empowerment in an increasingly threatening “men's world,” this wild and woolly take on teen-angsters past would make Furiosa herself cheer.
  6. The content is enjoyable and informative, a loving tribute even if deeper analysis and insight rarely rear their heads. Yet I dare anyone not to snap to attention and spontaneously follow the sound of that voice.
  7. It’s tradition versus modernity, it’s defiance in the face of oppression, but more importantly, the film speaks to how Fiddler on the Roof resonates time and time again, across generations, to the human condition.
  8. A sublime mixture of dark social realism and magical fantasy – social magical realism, if such a subgenre exists.
    • 57 Metascore
    • 78 Critic Score
    Given the rags-to-riches Mafia narrative Piranhas is built upon, it’s no surprise that Giovannesi’s film has received comparisons –  both favorable and unfavorable  – to "Goodfellas."
  9. Though the third act ends surprisingly, if not anticlimactically – truth is indeed stranger than fiction – the film can’t resist one final finger wag, this time from the esteemed barrister (a likable Fiennes) who brilliantly mounts Gun’s legal defense by barely raising that finger.
  10. You’ve got to hand it to director Andy Muschietti. Adapting any Stephen King novel – or, for that matter, shorter material – is always a hit-or-miss gig, but It Chapter Two manages to pull out all the stops and in several areas actually tops the first film.
  11. Before You Know It feels like it fell out of the mid-Eighties – and that's not a bad thing. In the tradition of "Mystic Pizza" or "Moscow on the Hudson," it finds its humor in the light and shade of its characters, with the odd broader gag (especially from Tullock, who is unafraid to go big with Jackie's theatrical habits).
  12. It's the astounding score by Eicca Toppinen and his bandmates in cello-metal innovators Apocalyptica that gives the film its structure.
  13. It’s a fascinating ticking clock, and it works because Oyelowo leads the way as the brokenhearted survivor.
  14. There are plenty of great things to say about director Janice Engel’s portrait of the late, legendary Ivins, but maybe the best is that after watching Raise Hell: The Life and Times of Molly Ivins, you'll immediately want to go back and re-read all her books.
  15. All those elements are a blast, but distract from where Ne Zha is most fun and most endearing, with the demon-child's loyal parents trying to work out how to keep him from darkness and eventual electrocution, leading to some sweet child-friendly message about fate and friendship. Plus Taiyi and his flying pig are just plain adorable.
  16. The film ostensibly is about bees and honey and how that affects these families' lives and income, but what really hits home is a broader impact of humanity (in all its messy glory), and a document of so many things: grief, loss, happiness, and joy.
    • 72 Metascore
    • 78 Critic Score
    Brittany certainly deserves a happy ending, just perhaps not quite in the time allotted.
  17. There's a clumsiness here, a succession of setups and awkward payoffs that are so on-the-nose, so cringe-inducingly earnest, that it's hard not to laugh. Even the story behind Grace's name is more likely to trigger guffaws than the kind of sentimental welling-up intended.
    • 45 Metascore
    • 67 Critic Score
     Angel Has Fallen attempts to tell a slightly more mature story. Waugh seems to barter for creative control by the act: As long as the studio gets a respectable pairing of intro and outro set-pieces, Waugh is free to explore unexpected elements of trauma and masculinity.
  18. It’s a shame that the film never rises above a perfunctory level of hagiography, but retrospective memorial docs rarely do.
  19. As in his previous documentaries, Brügger’s actions and tone are shot through with pitch-black gallows humor and dizzying moments of absurdist farce, equal parts Hunter Thompson, Michael Moore, and the great, self-effacing British journalist Jon Ronson.
  20. It’s only in the last quarter of the film, when Wang strays from her own family’s touchstones to explore a case of separated twins, that One Child Nation loses just a touch of its urgency.
  21. Ready or Not is the film everyone had hoped for: scathing, bloody, funny, and hugely entertaining.
    • 57 Metascore
    • 78 Critic Score
    At its strongest, Charlie Says remembers that true justice is never easy, nor should it ever be. Its importance is in Harron asking those very questions, putting the audience in the uncomfortable position of contemplating at what point punishment is enough, and that gives Charlie Says true worth.
  22. A moment, please, to appreciate that 47 Meters Down: Uncaged contains a landmark in shark attack cinema (which is a genre, don't question me). Finally, a film has dethroned Deep Blue Sea for the title of "dumbest and most hilarious chomp-chomp moment."
  23. One of Linklater’s greatest filmmaking instincts involves his casting decisions. Newcomer Emma Nelson is a real find as Bernadette’s daughter. Although Blanchett’s performance seems a bit mannered and slightly reminiscent of her Oscar-winning performance in "Blue Jasmine," these are hardly flaws when the outcome is so riveting. Wiig beautifully toes a difficult line between drama and comedy. It’s a line similar to the one etched by this film: an emotional crisis mixed with laughs.
  24. Luce’s power is that it refuses to ever pander to absolutes. Its commitment to ambiguity, to complexity, is defining.
  25. While Good Boys has some interesting moments of reflection, make no mistake that this is a film about fart jokes and having 12-year-olds say “f**k” a lot.

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