Arizona Republic's Scores

  • Movies
  • TV
For 1,987 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 1.5 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:
1987 movie reviews
  1. A clever, funny movie that will entertain kids and adults.
  2. Wants to scare you, but it can't quite seal the deal.
  3. Even with the revolving door of characters and plot developments, there are some laughs in Almost Christmas.
  4. Pacino, long ago having given up subtlety for bombast, continues along that path here, but he's still fun to watch.
  5. Jeunet's new film, Micmacs, mixes the dark, claustrophobic world of "Delicatessen" and "City of Lost Children," with the happy-ending optimism of "Amélie" and "A Very Long Engagement." It isn't a convincing graft of moods.
  6. It’s never a boring film to look at, but it is often a tiring one. Running over two hours, the film is bloated with portent and repetition, each story taking too long to get to its inevitable moral.
  7. It's good enough for a brainless night of fun at the movies, though your enjoyment might hinge on your nostalgia for old-fashioned dude movies, complete with a soundtrack of wailing electric-guitar solos and a wealth of random topless babes. Unfortunately, it could have been a lot better if someone had taken out a hit on the script.
  8. Wild Grass retains a literary feel with the help of an unseen narrator, who offers intriguing poetic observations. And Resnais' visuals are equally lyrical. What can you say: The French sure know how to make pretty pictures.
  9. Everest is a sprawling mess of a movie, one you feel like could have been great but instead roams all over the place and winds up being just pretty good.
  10. Broadway Idiot is entertaining enough. Certainly if you’re a Green Day fan, it’s something close to essential. But it never goes too deeply into anything.
  11. A mix of solid action and an underused cast, with star Hugh Jackman left shouldering the burden of bad lines and forced emotion, it leaves you longing for more editing and a tighter story.
  12. Niccol looks at the pilot's struggles and the toll this remote form of warfare takes on his life. It's certainly intriguing, but he tells his story in such broad, obvious strokes that the movie isn't as powerful as it could be.
  13. Levine shows some of the promise that would serve him so well later, but beyond an intriguing look and an initial attempt to put a new spin on the teen-horror genre, “Mandy Lane” winds up being pretty conventional.
  14. The makers of Wish Upon must love the “Final Destination” films, because they perfectly mimic the style, which is alternately nerve-wracking and slightly silly.
  15. All the glossy, kinetic animation and inventive action sequences get lost in the gag machine. The film throws jokes out like a tennis-ball machine on the fritz: gross humor, slapstick pratfalls, bizarre non sequiturs. The randomness does land a few laughs, but it's also exhausting.
  16. Téchiné's fidelity to the facts delivers a disappointing denouement to an intriguing character study.
  17. It’s probably best to think of Suicide Squad as a primer, an entry into a side world of the DC Universe that may pay bigger benefits in later films. It certainly seems like that’s how the filmmakers thought of it.
  18. Southpaw is all about the fist. There’s no delicate footwork here, no lingering grace notes. It’s a film played entirely in power chords.
  19. While there is some magic here, it’s not the transportive experience it might have been.
  20. There is nothing in the film that will keep you awake at night. Instead, The Awakening works much more subtly, with a profound sense of dread and resignation, a death-obsessed movie given life by Hall's performance.
  21. There’s nothing in Thor: The Dark World that wasn’t done better in “Thor,” or a lot better in “The Avengers.” Except Tom Hiddleston’s performance as Loki.
  22. Despite all its noble qualities, the movie boasts a stiffness that keeps it from ever feeling fully alive.
  23. Doesn't attempt much, doesn't accomplish much, doesn't offer much and doesn't leave you with anything memorable to take home with you.
  24. We’ve seen the elements that make up Paper Towns before, but that’s OK. Schreier proves adept at avoiding clichés, and is helped by his actors.
  25. This is Ferrell's movie, meaning some inspired laughs sandwiched between annoying bits that stretch on well past their usefulness.
  26. The Conjuring 2 won't make anyone forget the first film, but it's good enough that you'll hope they make another.
  27. As reinventions of fairy tales go, this one has some pretty big holes. Not all of the twists on the story work, but for the most part it's well-meaning, goofy good fun.
  28. Helped by good performances from Edgar Ramirez as Duran, Usher Raymond as Leonard and Robert De Niro as Duran’s trainer, Ray Arcel, the film chugs along well enough, but never rises close to boxing films like “Raging Bull” (few films do) or “Creed.”
  29. Massaging the facts to pump up the drama is a necessary evil in a film like this, but The 33’s cinematic beats are so familiar that they undercut the sense of realism that would make it more compelling.
  30. Due Date should be a disaster, derivative of every road-trip movie you've ever seen. What prevents that are the efforts of the two stars.

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