Arizona Republic's Scores

  • Movies
  • TV
For 1,897 reviews, this publication has graded:
  • 62% higher than the average critic
  • 4% same as the average critic
  • 34% lower than the average critic
On average, this publication grades 1.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 12 Years a Slave
Lowest review score: 10 The Legend of Hercules
Score distribution:
1897 movie reviews
  1. Like its stars, the film's not particularly flashy, it's just good, and it's hard to find fault in that.
  2. The look of the film is amazing. The animation, particularly when the dragons take flight, is seamless.
  3. Some people will find Miranda July's film a poetic triumph, a meditation on responsibility and disappointment. Others will find it hopelessly pretentious, one of those movies only pointy-headed critics can abide. I found the film to be more of the former than the latter. Except when the cat talks.
  4. This is a film that deals with suicide, missed chances, depression, infidelity and more. Yet the movie itself isn't depressing, thanks to Hader, Wiig and director and co-writer Craig Johnson.
  5. It's Kikuchi who carries the film. She gives Kumko a sense of dignity and strength in the face of absurdity, and does so with few words.
  6. For all its missteps and machinations, the film mostly achieves its goals. In other words, have some Kleenex ready at the theater.
  7. So what drives these men? “Because it’s there” merely scratches the surface. Meru may not answer the question completely — likely nothing can — but it is a thrilling, harrowing attempt.
  8. It's a style of storytelling that leaves the audience guessing, but it also gives the actors room to breathe, to inhabit their characters without having to explain them away in terms of biography or pop psychology.
  9. Ultimately it's Wasikowska's performance that captivates. It's oddly compelling — she doesn't say much, and what she does say is usually off-putting. But there is a fierceness in her eyes as she walks, a determination that almost dares you to look away.
  10. There's a little "Kramer vs. Kramer" here, a dash of "Transformers" there, and it's all topped with big heap of "Rocky." But it's hard to argue with the results, because, at times, Real Steal is close to a knockout.
  11. Some elements of the film are too melodramatic, but there's not a bad performance in it -- look at the cast and that's not surprising -- and Gosling is outstanding.
  12. The same effortless chemistry that made the comedians such ideal Golden Globes hosts is on full display in this broad comedy, given extra oomph by a wise and glorious R rating that opens the floodgates of creative vulgarity.
  13. Disney scholars may scoff that it’s not a warts-and-all portrayal of the struggle to bring “Mary Poppins” to the screen, but that seems almost churlish in light of the enthusiasm Hanks brings to the film, or the eventually melting icy facade Thompson puts up.
  14. The charms of the leading ladies are hard to resist, as are their rare moments of clarity and self-awareness. Saunders is a tumbledown hoot while Lumley can generate a laugh with simply a deadpan stare, yet both seem a tad more human this time around. Just a tad.
  15. Fanning is nearly perfect as Ginger navigates choppier waters than most teens have to. There is not a false note in her performance; no matter how melodramatic things become, everything about Ginger remains genuine.
  16. Muylaert goes for answers and, at times, they may come a little easily for all of the turmoil that leads to them.... But Casé’s performance overwhelms any such quibbles. She is a delight, and thanks in large part to her performance, so is The Second Mother.
  17. Although this movie isn’t as well-made as Gibney’s best work, like “Going Clear: Scientology and the Prison of Belief,” or the Oscar-winning “Taxi to the Dark Side,” it’s plenty interesting, and serves as something of an appetizer for Danny Boyle’s biopic “Steve Jobs,” due Oct. 9.
  18. Paterson keeps plugging away, despite the intrusion of some outside forces. Making art is simply part of his makeup, and it makes Paterson a hopeful film.
  19. Damon can elevate just about anything in which he appears.
  20. It's this simple: If you like movies, you need to see Side by Side.
  21. What's surprising here, and pleasantly so, is the restraint shown by Mortensen and Fassbender -- and by Cronenberg.
  22. Humor is the most powerful weapon deployed by director Kenneth Branagh in Thor, his rollicking take on the comic.
  23. Good movies create their own worlds, and that’s certainly true of Goodnight Mommy — even if it’s a world you wouldn’t want to live in.
  24. Yes, Glazer asks a lot of his audience. At times the movie feels like something you've walked in to the middle of, so you're thrown off balance. Yet it's hypnotic — you want to stick around to see what happens, and maybe just to figure out what the hell is going on.
  25. Mendelsohn manages to make us simultaneously feel sorry for him and hope, against what seem like steep odds, that he somehow succeeds.
  26. Joe
    Cage is getting down and dirty again in Joe, and it's pretty remarkable — the performance more so than the film, and the film's good.
  27. It's just as accurately described as a bunch of British guys sitting around acting. But what actors! The cast includes Gary Oldman, Colin Firth, Tom Hardy, John Hurt, Mark Strong,Ciarán Hinds and Toby Jones.
  28. Slow, stark and sometimes surreptitiously beautiful, Michael Haneke's The White Ribbon is as cold and clinical an examination of evil as you could imagine.
  29. Through dogged research and interviews with the (now-grown) children Maier cared for, along with their parents (including Phil Donahue), a profile emerges, and it's fascinating.
  30. Like the original, Finding Dory makes us understand the fears, joys, struggles and triumphs of family.

Top Trailers