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Austin Chronicle's Scores

For 6,385 reviews, this publication has graded:
  • 38% higher than the average critic
  • 2% same as the average critic
  • 60% lower than the average critic
On average, this publication grades 8.1 points lower than other critics. (0-100 point scale)
Average Movie review score: 56
Highest review score: 100 Faces Places
Lowest review score: 0 Congo
Score distribution:
6385 movie reviews
  1. It’s a tantalizing offer that’s stuffed with celebrity, scandal, hedonism, and riches and all the sex, drugs, and disco that money could buy.
  2. For a first-time director like Barinholtz, The Oath is more than impressive. Tonally, it goes all over the place, but that only serves to keep the audience as off-balance as the characters onscreen. No matter what your political affiliation may be, this Orwellian farce is a candidate for President Trump’s least favorite film of the year.
    • 82 Metascore
    • 78 Critic Score
    Without ever feeling stagy or theatrical, The Guilty is an exquisite reminder that all you need is four walls and a great performance.
    • 57 Metascore
    • 89 Critic Score
    At its heart, Luff Linn is a very sweet love story between Colin and Lulu, punctuated by absurdity and a specific type of humor that (as I’ve referenced before) brings to the screen the spirit of the work of famed graphic novelist Daniel Clowes.
    • tbd Metascore
    • 50 Critic Score
    You know Westerns are in the middle of a comeback when even low-budget filmmakers are trying their hand at the genre. Big Kill, the latest such film, may not operate on the same level as a movie like "The Sisters Brothers," but there’s certainly a bit of charm in watching a filmmaker play it straight with a few of our favorite Nineties stars.
    • 68 Metascore
    • 89 Critic Score
    With original director John Carpenter's blessing, Green manages something that is both a tribute to and an evolution of the 1978 classic, with moments designed to create resonances that are not just re-enactment but part of his bigger theme of trauma-causing scars (there are also, in a nod to his days as an Austin resident, a couple of subtle visual nods to the original The Texas Chain Saw Massacre).
  3. The numerous characters presented in the film probably dilute its overall dramatic power.
  4. Thunder Road has received oodles of festival awards, including the Grand Jury Award at SXSW. The film is a singular work. Even though it doesn’t always live up to the promise of its opening sequence, Thunder Road is an exhilarating ride.
    • 80 Metascore
    • 89 Critic Score
    Shula never confirms or denies being a witch, making the title of the film a strange choice, though that affirmative defense through history has largely fallen on deaf ears and too many women have died to prove it. In short, it wouldn’t have mattered anyway.
  5. Goosebumps 2: Haunted Halloween knows what its target demographic wants but also resonates with adult audiences, thanks to the zippy plot and across-the-board excellent performances from the totally game cast.
  6. Even the documentary crew, composed of seasoned climbers and longtime friends, can barely watch their buddy painstakingly move up the peak.
    • 84 Metascore
    • 89 Critic Score
    It's up to cinematographer Linus Sandgren to give First Man its almost operatic sense of drama. He replaces the Technicolor glories of "La La Land" with something closer to the period graininess of his work on "American Hustle" or "Battle of the Sexes." But he adds rawness and intimacy.
    • 70 Metascore
    • 78 Critic Score
    Don’t think this is merely some edgy, caustic rom-com: This is a seriously funny examination of a life wracked with pain, and the healing steps it takes to move on with your life.
    • 35 Metascore
    • 40 Critic Score
    No one can accuse Hardy of giving Venom anything less than his absolute best. He has always been a performer who loves a good affectation; here he seems to be riffing on his performance as Max Rockatansky in "Mad Max: Fury Road."
  7. The beauty of Redford’s rock-steady performances over the last six decades or so is that he never showed off, and yet always commanded your attention.
  8. Most of all, this rendition of A Star Is Born oozes with romantic chemistry between Cooper and Gaga, as well as the stunning command of rock & roll visual tropes evidenced by Cooper and his director of photography Matthew Libatique (Black Swan).
  9. It’s a visceral fear that’s filmed in a way that forces the viewer to undergo the emotion along with the character.
    • 72 Metascore
    • 67 Critic Score
    It's no "Metalocalypse" (pretty much the only metal comedy to completely break the rules), and there are no new classic anthems here, but if you want to bang your head to a very familiar beat, Heavy Trip is a solid cover version.
  10. Screenwriter Audrey Wells adapts Thomas’ YA novel with a sure hand and the supporting cast – especially Hornsby’s deeply protective and loving father, and Sabrina Carter as one of Starr’s white besties who just doesn’t get it – are pitch perfect.
    • 74 Metascore
    • 67 Critic Score
    Colette is a good primer for a wonderful author, and a reflection on how your life will never turn out as you think.
    • 87 Metascore
    • 78 Critic Score
    What Greene both shows and helps enable may be the first steps toward a new understanding in a shattered community.
    • 60 Metascore
    • 67 Critic Score
    If you’re looking for a thrilling whodunit, there’s nothing in this film that hasn’t been done – and done better – a dozen times before.
    • 25 Metascore
    • 11 Critic Score
    But really, it seems like a movie hatched because someone had access to an amusement park and knew a lot of people in the makeup and lighting department.
    • 63 Metascore
    • 78 Critic Score
    An incredibly evocative film and one of the most evocative neo-Westerns of the past decade.
  11. Smallfoot also features some excellent physical comedy, some of which calls to mind the sight gags prevalent in the old Looney Tunes cartoons once produced by this studio (Warner Bros.).
  12. Reilly, Phoenix, Gyllenhaal, and Ahmed – a murderers’ row of outstanding character actors who all moonlight as leading men – take the script’s raw materials (daddy issues, the trauma of being bullied, the civilizing effect of a toothbrush) and forge new bonds with a few words, a light look. The film treats their growing intimacy, in all its permutations, like an objet d’art, to be turned over and examined, delicately, from every angle. When they’re together, the film is electric.
    • 82 Metascore
    • 78 Critic Score
    It’s fine; it works. The future is bright.
  13. Crafted within the broadest, not-quite-funny brushstrokes possible, director Lee’s movie about a class of troublemakers, hustlers, adult J.D.s, and Rob Riggle’s patented goofy man-child schtick struggling to earn their GEDs at the eponymous classroom fails, epically.
    • 60 Metascore
    • 40 Critic Score
    Dialogue is reduced to consistent mumbled whispering, in an attempt to build mood and tension, but that's as ineffectual as the sepia-tinged photography is at evoking the period.
  14. A serviceable cast of unfamiliar actors (the exception: Thompson as the family matriarch, Marmee); a serviceable script that takes few if any chances, with occasional wordless montages of shiny happy people; and serviceable direction that gets the job done and nothing more.

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