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 The Social Network
Lowest review score: 10 The Legend of Hercules
Score distribution:
1,475 movie reviews
  1. One reason it works so well: The film always looks believable, and it’s easy to get wrapped into Singer’s fairy-tale world.
  2. [Washington's is] a tremendous performance. It's when he is on-screen (most of the time) that Zemeckis' film really, if you'll excuse the expression, takes flight.
    • Arizona Republic
  3. The film is quiet, patient, allowing for lived-in performances that get at the enormous change in the characters' lives.
  4. There are laughs aplenty, some disgusting, some rather sweet, some both at the same time.
  5. To call Armstrong’s story a tragedy is probably an overblown notion. But it does involve sadness, not just with its depiction of a fallen idol, but with the necessary acknowledgment that some of our own hopes and dreams fell alongside him.
  6. Nebraska is as cold and unforgiving as its setting, yet just as stunning.
  7. A compulsively watchable look at Rivers.
  8. Terri is almost an anti-teen-coming-of-age teen-coming-of-age movie. And it's terrific.
  9. Never miss a chance to see Helen Mirren. You certainly could do worse as far as movie advice goes. Mirren may not be the only reason to see The Last Station, about the final year of Leo Tolstoy's long, eventful life, but she's the best reason.
  10. Shot in verite style with handheld cameras and rule-breaking quick cuts, Cahill's film moves slowly between moments of heartache and quiet beauty.
  11. All are good, Damon in particular, but there are so many of them we don't see anyone for very long at one stretch. And all are given at least some bad material to work with before the movie is over. For the most part, they make the best of it.
  12. Especially rewarding about Oduye's performance is how she's able to portray that frustration while retaining hope and optimism.
  13. Thanks to a particularly even-handed job by director Michael Rapaport, the story emerges as compelling, even for non-fans in the audience.
  14. It’s a Fellini-esque carnival of humanity on display, a more debauched phantasmagoria reminiscent of “La Dolce Vita.” But “La Dolce Vita” created the paparazzi; The Great Beauty takes place in a world where the paparazzi have existed for decades.
  15. Monkey Kingdom is a delightful gambol, visually stunning and educational without feeling like it, with a propulsive drama about escaping one's lowly social class at its core that inspires reflection on some uncomfortable truths about ourselves.
  16. If it is not as urgent as the first film, this is still an excellent companion piece. Together, the movies paint a complete picture of the physicality and mentality of war, and it is riveting.
  17. Surprisingly entertaining, probably because it uses Wall Street shenanigans and schadenfreude as the backdrop to a crime drama.
  18. Mark Ruffalo, in just the right amount of stubble, grease and leather, plays Paul, about as cool an instant dad as a SoCal kid named Laser could hope for.
  19. It delivers its considerable moments of terror in the same way the original film did. But it does deliver.
  20. Although Jonah Hill has been sweetly, profanely funny in such films as "Superbad" and "Get Him to the Greek," in Cyrus he's a revelation.
  21. What's breathtaking here is the scope of greed, corruption, arrogance and above all cynicism on display, not just regarding the system of government but the people it ostensibly serves.
  22. It's just a good yarn, well told. So don't be deterred by the title (it sounds like a lame horror movie) or the description.
  23. A thick film of sleaze coats every frame of Nightcrawler, a movie that takes a hard look at media culture and provides Jake Gyllenhaal a terrific opportunity to creep us all out.
  24. We get a sharp look at getting older, growing up and assuming responsibility. The fedora is optional (and not recommended).
  25. It's a somewhat formulaic romp, but it's an utterly winning one.
  26. The film ricochets between Tammy being an oblivious cartoon goblin and a textured, sympathetic human being who just wants to be loved. Perhaps if the film had catered a little less to McCarthy's comedic gifts — the curse-word fugue states, the slapstick humor, the non sequiturs — the end result would have felt more balanced and rewarding.
  27. As cinema, Crime After Crime is nothing special. It would be perfect for a PBS "Frontline" entry. But it reminds us, once again, that little can be quite so riveting as a well-told story from a compelling talking head.
  28. The film is less effective, and less focused, when it switches into activism mode. Not that its heart isn't in the right place — we all know about the appalling state of institutionalized elder care. Which is the problem with those segments: We all know this already, and the filmmaking feels like perfunctory, necessary padding.
  29. It's mindless entertainment with enough thrills and chuckles to make the time pass painlessly. Just don't examine anything too closely.
  30. The voices are outstanding; the story demands British accents, and with such people as Caine and Smith providing them, so much the better.

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