Arizona Republic's Scores

  • Movies
  • TV
For 1,919 reviews, this publication has graded:
  • 61% higher than the average critic
  • 4% same as the average critic
  • 35% 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 The Diary of a Teenage Girl
Lowest review score: 10 The Legend of Hercules
Score distribution:
1919 movie reviews
  1. Thanks to a good cast and a willingness to stray fairly far afield from the source material, it’s better than you might think.
  2. The acting is good, the story of doomed lovers suitably tragic. But the film is never quite moving in the way one would hope.
  3. Vacth is good throughout. It's tough to make a disaffected character hold your interest, but she does.
  4. Interesting as it is, Narco Cultura aims to tell the story of what’s happened in Juarez and in Mexico (and, by virtue of its immense appetite for drugs, the U.S.). Instead, it feels more like a couple of intriguing chapters.
  5. There are few issues more bitterly divisive than abortion, with emotions and rhetoric running at fever pitch. October Baby is a faith-based movie that resides staunchly in the pro-life camp. Yet directors Andrew and Jon Erwin, who also contributed to the story, rarely let their film get didactic, instead going for a more low-key approach.
  6. None of the characters, save Ada, is interesting enough to sustain the creaky joints of the convention of the story mechanism.
  7. Despite the lethal force that inevitably gets applied to poor Lisbeth, we never really fear for her safety, but we do fear for her future happiness. That is where the real drama lies.
  8. Probably it's a combination of those and other elements that leads to Diaz's bad teacher not being as bad as she might have been and Bad Teacher not as good as it could have been.
  9. The film looks terrific, with a fantastical forest coming to 3-D life. Swooping birds, flying arrows and more make good use of the technology. But the best films use technology as a storytelling device, not as a substitute for story itself.
  10. While the good outweigh the bad, it's a close race. But what is good, particularly a heartbreaking performance by Allison Janney, is really good, enough so that Colfer emerges as a talent worth watching on the page, not just on the screen.
  11. The movie drags on way too long, but there are things to like.
  12. There's nothing bad about Skateland, in fact, particularly for those old enough to remember the clothes, the feathered hair and the soundtrack. There's just nothing new, or anything that hasn't been done before, and better.
  13. Although it brings nothing new to the con-artist fold, or even anything thrilling, Focus is a seductive enough rehash that benefits from the built-in pleasures of the trade.
  14. It’s easy to roll your eyes at what we see in “One Track Heart,” but harder to dismiss the happiness and peace on display here.
  15. Slow-moving and occasionally ponderous in tone, "Creation" nonetheless is an intriguing portrait of a man and a time that changed everything.
  16. It’s engaging at times and wonderful to look at, but feels like it’s on the cusp of something bigger. But whatever that bigger thing is, it never arrives.
  17. Delicacy is not a very good movie. But it is entertaining enough -- barely enough -- to make it worth seeing.
  18. From its bland title to its fair-to-middlin' story, mediocre is the word that fits How Do You Know perfectly.
  19. The filmmakers work at creating a new take on an old protagonist and then don’t really have much new to do with him once they’ve achieved that. It’s a good effort. Just not an entirely successful one.
  20. A lush but fumbling literary melodrama outfitted with an attractive, generations-spanning cast and a puzzle box of three competing narratives.
  21. [Pacino] and Green sometimes overplay their hand. That is, overplay the underplaying, which sounds patently ridiculous but is the exact description warranted here.
  22. It's easy to get sucked into Begin Again, to enjoy the friendly performances and the goes-down-easy songs, and to not even notice until it's over that the film is more a feel-good fairy tale than anything else. We might not have seen much that was truly meaningful in the end, but it was warm and fuzzy while it lasted.
  23. The overall feel is one of a generic, feel-good drama, albeit one with Harrison Ford stomping around most of the time as if someone kicked him in the shins. One suspects that this is a story that deserved better.
  24. After a predictable opening hour, Paradise Lost manages to deliver a surprise or two as it switches gears into a full-on thriller. But it never gets close to the epic heights to which it aspires.
  25. The jokes only make up for the pedestrian plot for so long. There was a time when animated fare with generic stories sufficed. But now we expect more from them, because they have, pardon the pun, evolved. The Croods, like its title family, hasn’t.
  26. Unfortunately, screenwriter Christopher Bertolini has given Eckhart and Liebesman a story so riddled with war-movie cliches that it contains almost nothing else.
  27. The problem with V/H/S, a compilation of sometimes scary horror shorts loosely bound by an overarching plot, is that, no matter how savage, evil or sadistic the killer, the victims almost always come off as bigger jerks.
    • Arizona Republic
  28. While the acting draws us into the story; it plays like a daytime soap opera with really good actors and Australian accents.
  29. In Run All Night, Neeson gives us more of the same, although with Collet-Serra's assistance, it's dressed up in a more interesting package.
  30. The ambitious visual stylings don’t do enough to buoy a film that lacks a certain soaring spirit. If the adaptation is serviceable, it’s also dull — a disappointing fate for a story that’s anything but.

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