Arizona Republic's Scores

  • Movies
  • TV
For 2,010 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 A Separation
Lowest review score: 10 The Legend of Hercules
Score distribution:
2010 movie reviews
  1. The hidden magic in De Palma is Baumbach and Paltrow’s editing. The pacing is just right, and the stories flow, one from another. Sit back, relax, watch, listen and learn. It’s a good time at the movies.
  2. “Raiders!” is as sloppy and imperfect as the kids’ shot-for-shot remake, but it has much the same charm.
  3. You come to this movie hoping that Johnson and Hart make you laugh. Sometimes they do. Sometimes they don’t. The hit-to-miss ratio is higher than you might expect, and both actors could accurately be described as pleasant, if not especially creative.
  4. Like the original, Finding Dory makes us understand the fears, joys, struggles and triumphs of family.
  5. The heists are bigger, the illusions are flashier, and the pace is quicker. Even the cast is livelier and more fun. Perhaps best of all, the movie captures the first film’s twisty ability to twirl an audience around, so you’re never entirely sure what’s happened until everything is explained.
  6. The Conjuring 2 won't make anyone forget the first film, but it's good enough that you'll hope they make another.
  7. I love movies like The Wailing. Na Hong-jin’s film is like a genre buffet, with horror as the main course, but a hearty helping of mystery, crime drama, black comedy and family relations on the menu, as well. Don’t forget the side dishes of religion, superstition and ritual. It’s a full meal.
  8. A movie with a title like Puerto Ricans in Paris comes with certain expectations. Low ones. Thanks to the efforts of Luis Guzman — and they are mighty — Ian Edelman's slight film manages to rise above them. Not by much, but above them, still.
  9. It aims to match the mythic gravitas of “The Lord of the Rings” — even throwing in a nod to the Book of Exodus for good measure — and the results fall paint-by-numbers flat.
  10. Writer and director Mark Elijah Rosenberg paces things patiently, which in some cases is a polite way of saying there are boring stretches.
  11. The stunning character work is accented with moments of pure cinematic poetry. Audiard uses the camera like a paintbrush, composing lyrical interludes and disorienting transitions with the power to leave you breathless. It’s all so quietly brilliant — until it isn’t.
  12. Yes, “Popstar” is dumb, dirty fun. So what’s not to like?
  13. Me Before You is enjoyable in places, and Claflin eventually gives his character some depth beyond simply being angry. But the film exists mostly as a tear-production delivery system.
  14. For all its missteps and machinations, the film mostly achieves its goals. In other words, have some Kleenex ready at the theater.
  15. There is something fascinating about the intimacy of the camera here that is magnetic. And harrowing. And frustrating. And maddening. And a little sad.
  16. There should be a sense of, yes, wonder at play at all times here. Too often “Alice Through the Looking Glass” feels like a slog through time.
  17. It feels flat, disjointed, with too many moving parts.
  18. DeCubellis sets up a satisfying, stylish mystery, populated by striking characters and situations.
  19. It's a joy to watch Beckinsale attack the material — Lady Susan is one of those people whose interest in themselves and their own well-being is so great that it becomes contagious.
  20. Osmond may tell the story to wring maximum emotion out of the audience, but so what? Isn’t that why people make these movies? It is. And more importantly, it’s why people watch them.
  21. Lanthimos makes statements about the nature of love and relationships and their place in society, and there are fewer statements more important than those.
  22. Screenwriter Jon Vitti and first-time directors Fergal Reilly and Clay Kaytis certainly give it a try, but their bag of tricks is mostly recycled and their sense of humor is aimed squarely at 12-year-old boys.
  23. The porn, the drugs, the smog, the bad haircuts - you can play it for laughs or play it straight. With terrific performances from Ryan Gosling and Russell Crowe, Black does a little of both. The film is at once a nod to hard-boiled film noir and a send-up of it.
  24. There’s a weird attempt at feminism here that doesn’t quite fly – basically it boils down to young women having every bit as much right to do bong hits all day and night as young men do – but at least there is an attempt.
  25. A movie that never quite comes to life, despite its title.
  26. The narrative feels undercooked, its life lessons just a bit too glib.
  27. Jensen has a real gift for comedic editing, knowing just how long to play out a bit and when to move on. And Mikkelsen goes all in with his performance (as does everyone else).
  28. There’s a jarring shift in tone and story in the last act, but the performances — particularly towering ones by a way-over-the-top Ralph Fiennes and an under-the-radar Tilda Swinton — perfectly balancing each other, carry the day.
  29. The film whirs along with such entertaining efficiency that you may not realize that, by the end, it has shifted its blame in a manner that does not exactly betray a lack of courage in its convictions, but a willingness to let some of the bad guys off the hook.
  30. The Man Who Knew Infinity is a good movie about a great subject, but one that should have been bett

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