Arizona Republic's Scores

  • Movies
  • TV
For 1,475 reviews, this publication has graded:
  • 63% higher than the average critic
  • 4% same as the average critic
  • 33% lower than the average critic
On average, this publication grades 2.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Before Midnight
Lowest review score: 10 The Legend of Hercules
Score distribution:
1,475 movie reviews
  1. Director Roger Michell ("Notting Hill") has the good sense to step back and let Broadbent and Duncan work their magic on Hanif Kureishi's script. They don't disappoint.
  2. It's a movie that should be seen, a throwback to a looser, freer cinema. Wake in Fright has a tremendous '70s vibe to it, a "they-don't-make-them-like-this-anymore" feel that is as welcome as a cold beer in the Outback. [25 Oct 2012]
    • Arizona Republic
  3. There is an honesty to The Perks of Being a Wallflower, a genuineness of experience that makes the movie soar when it just as easily could have stumbled.
  4. The Theory of Everything breaks down simply, perhaps too much so: a great performance in a good movie.
  5. Berg immerses us so completely into the horror of these men’s situation that we are gripped throughout. The fighting is incredibly intense.
  6. '71
    Demange's busy camera is effective in conveying the chaos swirling around Hook. If we can't always tell exactly what's going on, neither can Hook. It ratchets up the tension considerably.
  7. Like a good episode of "Smallville": You may feel a bit silly watching it if you're past high-school age, but you just might have a good time.
  8. The performances are outstanding.
  9. RED
    Red isn't a great movie, but it's great fun, and if that sounds like damning with faint praise, you take things too seriously.
  10. An epic film about Algeria's fight for liberation from France, with three outstanding performances and a grand, sweeping feel.
  11. As the filmmakers trace the troubles of his later life -- psychological, financial, marital -- they flesh out a portrait of a reluctant guru whose human imperfections make him all the more inspiring.
  12. With shifting loyalties, unlikely heroes, truths revealed and a little help from friends, Harry Potter and the Deathly Hallows: Part 2 winds the series up in a most-satisfying fashion.
  13. It is a quiet but intense and closely observed piece of work.
  14. There are many remarkable things about Gloria, Sebastián Lelio’s film about a woman in her late 50s seeking love or something like it. Foremost is the performance by Paulina García in the title role.
  15. Polanski builds suspense slowly, exquisitely. It's not a matter of shocking the audience, although there are surprises, but of creating an ever-growing sense of dread.
  16. It's Bardem's portrayal of his search for those answers that drives Biutiful forward.
  17. Whatever it is, Giamatti finds it and sells it. And despite a few dead ends with the story, I'm buying.
  18. He's always on - this is a documentary, after all, so even when O'Brien is offstage, he's still performing in some capacity, cracking wise at the camera, of whose presence he is acutely aware.
  19. Wieckiewicz is outstanding, his open face expressing a full range of emotions, often within the same scene, sometimes within the same conversation.
  20. Offers valuable historical, social and political context, particularly if you aren't an international-news junkie.
  21. What's nice is how smart the film is. Schumer gives a nod to plenty of other romantic comedies, not to make fun of them but to honor them. Being funny is hard work and she has put in the hours of toil.
  22. There's comfort food and there are comfort movies. In Lasse Hallstrom's The Hundred-Foot Journey, you get a full helping of both. And guess what? It's all very comforting.
  23. The film, directed and co-written by Jorge R. Gutierrez, is a visually stunning, funny movie that trusts children to deal with subject matter that many films don't: specifically, death.
  24. Director Eran Riklis starts the film off with a playful, whimsical tone that grows increasingly darker as things progress. It reflects the life of the movie's protagonist, which finds him facing challenges that would make most people bitter.
  25. It's hard to imagine sitting through the film without Penn in the role of Cheyenne. But there he is, in all his intense, bizarre glory, almost daring us to come along for the ride and rewarding us with a compelling trip when we accept.
  26. 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.
  27. 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.
  28. 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.
  29. Director Michael Dowse (from the underrated Topher Grace comedy "Take Me Home Tonight") fuels the story with atmosphere, with lots of nighttime activity and bustle. He keeps things grounded in reality, though little touches (Chantry imagines her drawings coming to life) add an extra — and, perhaps, excessive — sweetness.
  30. A quiet character study filled with damaged, insular people who live life in small increments, only occasionally exploding in emotion.

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