Arizona Republic's Scores

  • Movies
  • TV
For 1,236 reviews, this publication has graded:
  • 65% higher than the average critic
  • 3% same as the average critic
  • 32% lower than the average critic
On average, this publication grades 2.6 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 The Social Network
Lowest review score: 10 The Legend of Hercules
Score distribution:
1,236 movie reviews
  1. One would expect a film about French artist Pierre-Auguste Renoir to look beautiful, to be shot in warm, sumptuous colors. And one would not be disappointed in Gilles Bourdos’ Renoir.
  2. Mud
    The story is intriguing enough to make Mud a good movie. Led by Sheridan and McConaughey, the performances make it something more.
  3. By the end of the ride, we’ll see glimpse of happiness, sadness, joy, heartbreak, maybe even tragedy, if cell phone-shot recollections are to be believed. All bases are covered, in other words, in one late-afternoon ride, a ride Gondry and his cast will make you want to take.
  4. The film is anchored by a searing, incredibly intense performance by Michael Shannon, whose remorselessness as a hit man is as relentless as Shannon’s portrayal of him.
  5. Even if its stunted ambitions come as a disappointment, Pieta nevertheless is an expertly crafted thriller and a fine addition to East Asian revenge cinema.
  6. Where Assayas’ film really shines is in capturing that feeling, when adolescence is stumbling awkwardly toward adulthood, that the most important thing in the history of the world is the thing that is occupying your thoughts and emotions at this particular moment.
  7. We Steal Secrets: The Story of WikiLeaks is at once an awkward mingling of two complex life stories and a gripping, necessary look at how information is gathered, shared and, yes, stolen.
  8. Sometimes, a movie just has a magic about it, something that makes you look past implausibility and plot holes and whatever other shortcomings it may have and leaves you feeling good just for having seen it.
  9. The Is the End is a different take on the R-rated comedy, a raunchy laugh riot that actually gives you a little to think about.
  10. These are characters for whom true belief in a cause has probably become impossible; they know how much that costs. Marsh does a compelling job of illustrating that for the rest of us.
  11. Although not everyone in the cast is as comfortable with the dialogue as Acker, for whom it seems natural, there is a clear love for the material here in every performance, in every shot. It’s not stuffy or remote. It’s fun.
  12. White House Down aims to be a low-brow slab of mindless summer fun. Most of the time, it comes pretty close to hitting the bull’s eye.
  13. Everything is so bizarre and deadpan, the humor just sort of sneaks up on you, until you’re laughing without even meaning to. It’s a neat mix of subtlety and over-the-top bloodshed, with everything played with a straight face.
  14. 20 Feet From Stardom is frequently sad and frustrating. But while there’s heartbreak aplenty, the film doesn’t function as a pitying paean to unmined talent — it’s ultimately a celebration of the unsung.
  15. In a movie with uniformly outstanding performances, Rockwell, as ever, is especially good. So is Carell, playing against type. But what makes The Way, Way Back stand out is Faxon and Rash’s obvious familiarity with what Duncan is going through.
  16. A sense of dread permeates The Conjuring from the start, and it’s delightful.
  17. Laurence Anyways is like a big, ornate, overstuffed pillow of a movie. It’s attractive and comfortable, even if there’s just too much of it.
  18. Still Mine is a rewarding, performance-based film, ultimately a small pleasure to spend time with.
  19. Thomas Vinterberg’s film puts us just on the edge of screaming frustration; Mads Mikkelsen’s terrific performance (for which he won the best actor award at Cannes in 2012) only makes the film more powerful.
  20. It’s Allen’s best film in years, an authentic-feeling deconstruction of a life. It isn’t always easy to watch. It isn’t exactly fun (although parts are funny). Blanchett’s performance sometimes overpowers the story. But it’s an essential work in Allen’s later canon.
  21. Blackfish is a disturbing movie, one that will make you rethink parks like SeaWorld and their value.
  22. Make no mistake, Daniels is gunning for awards here; the movie has that sheen, that Big Important Feel. But the performances keep it grounded. Let someone else decide winners and losers. Just enjoy “The Butler” for the sometimes-moving experience it is.
  23. The world Bell creates in In a World ... is so agreeable and inviting you’ll enjoy the visit.
  24. A mix of comedy, science fiction, nostalgia, adolescent wish-fulfillment and beer, beer, beer, its parts shouldn’t fit together as neatly as they do. But somehow Edgar Wright and Simon Pegg have again managed to make a movie that is knowing, touching and hilarious.
  25. Although at times maybe not enough happens, it’s still a satisfying homage to a golden age of American film and an original achievement in its own right.
  26. These characters are more than willing to risk their lives to further advances in science. That’s a passion and dedication that fuels Europa Report, and Cordero makes the most of it.
  27. The directors (Lapeyre also wrote the film) have gathered a terrific bunch of young actors for the film, which plays at times like a “Lord of the Flies” knockoff but also has something original to say.
  28. What makes Drinking Buddies so compelling is that feeling that these are real people, behaving in real ways.
  29. The Patience Stone largely functions as a one-woman play, with Farahani’s character soliloquizing over her husband’s body.
  30. Mulloy’s only other directing credit is for the documentary short “This Morning.” She brings a documentarian’s objective eye to Una Noche, yet the actors — non-professionals — convey exactly the emotions she is looking for.

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