Arizona Republic's Scores

  • Movies
  • TV
For 1,865 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 1.9 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 The Jungle Book
Lowest review score: 10 The Legend of Hercules
Score distribution:
1865 movie reviews
  1. Despite his roots as an over-the-top stand-up comedian, Williams long ago proved himself to be one of those rare actors who can truly inhabit a role, and “Boulevard” is no exception. But that’s not always enough to keep the viewer’s eyes glued to the screen.
  2. Allied is a decent movie, but frustrating — it should have been great, but never gets out of its own way long enough to be.
  3. It's an interesting idea that loses steam as it gains gore. The development of the story is much better than the payoff. It's fun while it lasts.
  4. It offers Bratt maybe his best role ever as Che, a tough-guy neighborhood personality struggling to come to grips with his son's homosexuality.
  5. The film really pops to life only when it gets a little messy, and it's never messier than when it loses itself in family dynamics.
  6. Forget Team Edward vs. Team Jacob. I'm backing Team David, as in David Slade, the director who has finally managed to breathe some life into the "Twilight" series, heretofore a deadly dull undead undertaking.
  7. Once the twist becomes apparent, the film stops being scary and you stop caring about Sarah, despite Olsen's graceful performance. It's a shame. If the film stayed on track, it might have been come close to being a classic. As it is now, it's a huge missed opportunity.
  8. The Woman isn't simply a gore-fest. It's just mostly a gore-fest, with a little more going on, as well.
  9. It’s all very competent, containing all the separate components we ask of period pieces and literary adaptations: great actors, dramatic staging, lush scenery, elaborate costuming. It looks as pretty as a tightly cinched corset, and leaves just as little room to breathe.
  10. Pacino and his director don't get back to basics — given that Pacino plays the title character, an aging rock star who long ago sold out, that wouldn't make sense. But the actor brings such a charming attitude to the role that his performance feels far more genuine than the story itself.
  11. Joy
    The script feels not half-finished, but maybe three-quarters. Lawrence does what she can to make up the missing 25 percent, but even she can’t perform miracles.
  12. Should you see it? Sure. The absolutely absurd, over-the-top Vegas chase scene assures you’ll get your money’s worth in ridiculousness. (Not all of Greengrass’ set pieces are smart.) But in truth, you’ll be there because it’s a Bourne movie, and you’ll like it a little better than you should because it is.
  13. There's a welcome lack of pretension to the proceedings. Stalwarts like Hurt and Ian McShane are on hand to class up the joint — everyone's got a British accent except for Johnson — while the predictable story bludgeons its way towards an inevitable conclusion.
  14. Kidman and Firth both deliver compelling performances, although this kind of plot-driven fare is no real challenge to their considerable acting talents.
  15. It’s fun enough in places, outrageous (in mostly a good way) in others. Ultimately, however, the plot falters enough that it’s more like a two-hour audition for Great Actress. Chastain passes with flying colors, even if the movie doesn’t.
  16. The film is interesting and at times enlightening, but it's all over the map.
  17. A too-good Gru is a boring Gru. No matter how much you crank up the adorability factor or offer up the occasional laugh, there is no getting around that.
  18. This trip isn’t so notable. It’s not bad. Some bits are enjoyable. But ultimately, other than some genuinely impressive visuals, it never makes a compelling-enough case to justify its existence.
  19. Hafstrom creates a nice, creepy vibe, especially for the first part of the movie, which has a menacing atmosphere. Too bad he doesn't sustain it.
    • 58 Metascore
    • 60 Critic Score
    Despite the heavy themes, "100-Year-Old Man" keeps the tone light. It is a comedy, after all. The laugh-o-meter needle hovers fairly consistently on "amused grin."
  20. Director Mark Waters manages to wring some charm out of the film, and out of Carrey.
  21. The movie, like Jackie, loosens up a bit, and her relationship with Ian adds a nice bit of warmth. Hunt directs the film, and at times its tonal shifts are a bit jarring.
  22. Odd indeed. In a good way, mostly.
  23. Zwick can't seem to decide what the movie is - a refreshingly frank comedy about sex and commitment, or a more-serious look at illness and its effect on relationships.
  24. Newbie director Aleksander Bach handles the project with a competent precision. The film doesn’t rise above the genre and the plot is muddled, but he pulls off the basic elements with a distinctly chilly European style.
  25. The best of the lot. It's not great, but the mean-spiritedness that permeated the first film and stuck around a bit for the second is mostly gone.
  26. The new Ghostbusters is a pretty funny movie, a goofy take on the goofy original that has some good laughs and a dopey story.
  27. It's a movie as warm and fuzzy as a comfortable blanket, and as safe as the milk Edwards prefers to anything stronger. Not as exciting, perhaps, but it gets the job done well enough.
  28. Kahlil Gibran’s The Prophet is a hit-and-miss affair, easy on the eyes but nothing to write home — or a term paper — about.
  29. Acting (and story) take a back seat to the visual display. Eubank shows confidence with each shot, whether it takes place in a desert vista or a clinical government slab. What's it all mean? It's unclear, except meaning that Eubank is a talent to watch.

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