Austin Chronicle's Scores

For 6,460 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 Control
Lowest review score: 0 House of the Dead
Score distribution:
6460 movie reviews
    • 86 Metascore
    • 89 Critic Score
    It all comes back to the heart of the Spidey story, the old adage that "with great power comes great responsibility." It's tough doing the right thing, and sometimes it's thankless and can come with a lot of pain, but it's still the right thing, and that's why you do it. Spider-Man: Into the Spider-Verse always comes out swinging.
    • 70 Metascore
    • 40 Critic Score
    There’s nothing feel-good about this story – even moments that should be hopeful.
  1. In the end, Tea With the Dames peters out as a conversation, given there’s no real beginning, middle or end to the film. It’s a privilege, however, to have been given a tableside seat to listen to this foursome reminisce and ruminate for an hour and a half, with laughter punctuating the conversation every few minutes.
  2. The internet is infinite. So, too, are the ways it can breed creepy behavior and new opportunities to commodify human connection. People’s Republic of Desire explores only a tiny swath of the internet of grossness, but it’s a subject so epic it deserves much longer examining than a quick 95 minutes affords.
  3. Viewers unfamiliar with Miyazaki and Studio Ghibli’s extraordinary output over the years may find Never-Ending Man an exercise in tedium – the creation of an animated film, even a short one, is a famously slow and exceedingly precise process – but for those who, like me, adore his life’s work, it’s a precious and fascinating glimpse into the inner life of the world’s greatest living animator.
    • 48 Metascore
    • 50 Critic Score
    Ultimately, Mortal Engines is the kind of non-summer blockbuster that seems destined to find a few ardent defenders. Too unfocused to be good, too packed full of ideas to be entirely bad, it should become quite the cable television staple in just a few years' time.
    • 61 Metascore
    • 40 Critic Score
    Mary Queen of Scots catches the outline but misses all the details.
    • 54 Metascore
    • 67 Critic Score
    So what if it's a story we've seen already this year? It's still a blast, and with added Savage it manages to be a good-hearted cash-in that retains the original's mix of emotion and acerbic humor while providing a hilarious commentary on the film itself.
  4. Not enough can be said about Willem Dafoe’s amazing performance as van Gogh. It is some of the best work of his career.
    • 96 Metascore
    • 89 Critic Score
    This is a film that alternatively shows humanity in all its ugly glory as well is its quiet moments of beauty.
    • 51 Metascore
    • 50 Critic Score
    Honestly, the visuals let a stellar voice cast down. In trying so hard to escape Disney, Serkis just fell deeper in his shadow.
  5. While the movie principally focuses on Flynn’s professional aspirations, including his desire to be accepted as a chef in his own right despite his age (the online trolls had a field day after the NYT article), a prickly relationship with his mother, Meg, provides a subtextual narrative that sometimes feels a bit uncomfortable.
    • 71 Metascore
    • 50 Critic Score
    Becoming Astrid’s saving grace is Alba August. She is in almost every frame of this film, and gives life to what, on paper, amounts to a Lifetime channel biopic.
    • 42 Metascore
    • 50 Critic Score
    If you and the film find yourself on the same wavelength, there is a fair amount here to like. Like many actors moving behind the camera, Pettyfer may err a bit too much on the side of loud performances, but cinematographer Jarin Blaschke (The Witch) adds some much-needed desperation to these characterizations through his unsentimental depiction of rural Pennsylvania.
    • 37 Metascore
    • 20 Critic Score
    There are undoubtedly filmmakers who could’ve taken that setting and created something genuinely spooky; it’s a shame to see an excellent setting go entirely to waste.
    • 91 Metascore
    • 100 Critic Score
    Scintillating black comedy of manners from Yorgos Lanthimos, it latches its fangs in deep.
  6. An anime version of "Mr. Mom" this is not. Director Hosoda’s clear-eyed story allows for comic moments of fatherly ineptitude but focuses just as often on the marital and familial stress this sudden role reversal causes.
    • 75 Metascore
    • 78 Critic Score
    A complex and fascinating look into a convergence of creativity, money, and iconoclasts, Meow Wolf: Origin Story is a tale that to my knowledge has no precedent. And while Meow Wolf might not be to everyone’s tastes, they are trailblazers. I’ll take their elaborate and inventive installations over pastel desert paintings of horses and clouds any day of the week.
  7. Maria by Callas is not the place to look if you’re in search of a biography of the star.
    • 63 Metascore
    • 78 Critic Score
    The signature refrain of "Hollywood Ending," with its high-kicking energy and table-punching emotion, is just irresistible. It's the sweet that balances out the bitter of a film that makes it clear that this won't all end well. Anna and the Apocalypse is like biting into a candy cane and getting jabbed by those sharp, sugary shards.
    • 70 Metascore
    • 89 Critic Score
    A vibrant, outspoken, and incredibly talented artist, this doc is both a biography of a life and a document of a person living on her own terms, just trying to figure things out like the rest of us.
  8. Robin Hood isn’t as awful as all that, really. For one thing, it’s too singularly bizarre to be anything less than head scratchingly entertaining, and the action set-pieces are pulled off with much quivery panache.
    • 71 Metascore
    • 67 Critic Score
    The script unfortunately replicates one of the worst errors in "Toy Story 3": Sidelining just about every major supporting character from the early installments.
  9. Two terrific performances and the interplay between the two actors – Mahershala Ali and Viggo Mortensen – are the reasons to see Green Book. Their pas de deux is a master class in acting, and the twosome’s give and take provides good company for the road trip that comprises the heart of this narrative.
  10. The Front Runner spends too much time involved in the glare of the situation rather than examining its intricacies or characters. Like many of Reitman’s films, particularly Men, Women & Children, The Front Runner is interested in the subject of privacy as mitigated by the TMI era. The character of Gary Hart, unfortunately, becomes only a means to this end.
  11. The casting is solid, with an even more pumped-up Jordan once again anchoring the movie as the conflicted young boxer in the title. But it’s the underdeveloped villains of the piece who ultimately prove more intriguing, despite their one-dimensionality.
    • 57 Metascore
    • 67 Critic Score
    The challenge – the one this film proves incapable of overcoming – is how you marry a broad family comedy with the endless complexity of the adoption process.
  12. At every turn, corruption oozes from the pores of this thriller, and although the film’s tone keeps us on edge, Widows also hits a few perfunctory pits in the road.
  13. What I learned from Monrovia, Indiana is that I – personally – am bored by mattress shopping, City Council arguments over fire hydrants, and high school band concerts I am not obligated by shared DNA to attend.
    • 64 Metascore
    • 67 Critic Score
    When it comes to buddy comedies, The Long Dumb Road isn’t exactly forging new territory. It’s a bit like "Planes, Trains and Automobiles" refitted for the 21st century, yet it’s grounded in a nostalgic sense of kismet that predates using an app to order rides from strangers.

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