Arizona Republic's Scores

  • Movies
  • TV
For 1,301 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 2.5 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 12 Years a Slave
Lowest review score: 10 The Legend of Hercules
Score distribution:
1,301 movie reviews
  1. Coppola's audacity in not only portraying the unmoored nature of Marco's life but immersing the audience in it proves satisfying over time.
  2. This is the rare movie with no one to root against, a film filled with good guys and weird guys (and gals), all of whom you hope find what they're looking for, even if you know that's not possible.
  3. On some level Moneyball is about loyalty: loyalty to an idea, loyalty to a partnership forged by desperation, loyalty to the values you believe in. Whether that was Lewis' intention in the book, or Beane's intention in taking the risk, doesn't matter. It's the formula Miller came up with for the film, and with the team of Pitt and Hill, it's a winning one.
  4. It is a tremendous performance by Jones, who co-wrote the script with her own ex-boyfriend Will McCormick, who appears as a drug-dealing friend with surprisingly grounded advice for just about anything.
  5. Brutal, sadistic yet well-made statement about how violence is portrayed in media and our reaction to it.
  6. This is director Jake Schreier's first feature, and, working from a script by Christopher D. Ford, he creates an inviting world.
  7. The real draw of Arthur Christmas is simpler: It's really funny.
  8. The directors include interviews with descendants of the original settlers and with later arrivals — too much so, actually, as the lengthy scenes interrupt the flow of the mystery. But they don't derail it. The story is too lurid, too rich, too compelling.
  9. Lawless is one of those movies that feels like it's trying to say something more important than it really is. It could have been better, but with Hardy and Pearce on board, it's plenty good enough.
  10. As Kumaré plays out, both Gandhi and the film become something else, something much more thoughtful and moving. It is, as he puts it, the biggest lie he has ever told and the greatest truth he has ever known.
  11. The perfect movie for fans of "The Daily Show" who actually stick around for the second-half interview. A cinematic memoir based on the one-man show by Mike Birbiglia, it is the aesthetic intersection of Comedy Central and public radio.
  12. Sound City is a music geek's dream, a rollicking look at a dumpy California studio where a lot of musicians found magic. It's also a bit of a mess, like all good rock and roll ought to be.
  13. A documentary that delves into what happens when the ghost stories you told as kids, the stuff of urban legends, seem to come true.
  14. There isn't a cynical bone in this film's achingly sincere body. And it's not really a horror movie, unless the "horror" in question is the all-consuming awkwardness of young love.
  15. It's outstanding work (Carell). It's also a really funny movie.
  16. Her (Williams) performance is so engaging and complete, it's worth all the other shortcomings.
  17. Engagement with the enemy isn't a possibility here. It's a certainty. The unit will face fire daily, sometimes as often as four or five times. The stress is incredible, the courage displayed even more so.
  18. 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.
  19. Count Captain America: The Winter Soldier as another success in the Marvel line. Thanks to the chemistry between Evans and Johansson and a willingness to shake things up, it's more than just a placeholder between "Avenger" films.
  20. Manipulative, overly sentimental, sometimes ludicrous and almost completely irresistible.
  21. The movie belongs to Gleeson, commanding in every scene, even when he's sitting silently, listening to another sinner go on about what's wrong with everyone else.
  22. Kapadia does an outstanding job of getting at what Senna meant to Brazilians and to his sport. The man himself was a tougher nut to crack, but maybe that's best. A little mystery suits a good story, and Senna is definitely that.
  23. The film is leisurely paced, as many French films are, and not much actually happens, but as a character study, it feels true, and ultimately moving.
  24. As an encore for Brand's Aldous, it's a welcome return. And for Hill, it's a chance to really shine.
  25. Prometheus is a good movie, sometimes very good. It's just not a great movie.
  26. Igawa is almost a magical presence, projecting a calm in Ozu that is infectious.
  27. It’s a powerfully sensual movie, gorgeously lensed colors and textures conveying its characters emotional states while thoughtfully exploring the range of human sexuality through Adenike’s experience.
  28. It's all a seedy, sordid mess, and it only gets worse -- and more and more intriguing. Layton engages in re-enactments of some parts of the story, a tactic that is either helpful or annoying, depending on your appetite for such things.
  29. With its lush look, uniformly excellent acting, slow cadences and unhurried unspooling, We Are What We Are rewards your patience without skimping on the goods.
  30. In Interstellar, Nolan has created a universe where ultimately the possibilities are endless. At its best, the film feels the same way.

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