Arizona Republic's Scores

  • Movies
  • TV
For 1,136 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 Stories We Tell
Lowest review score: 10 The Legend of Hercules
Score distribution:
1,136 movie reviews
  1. The bigger issue is that the film is more a slice of life than a real journey. It's an intriguing slice, but the real depth is in the performances, not the story. [18 Oct 2012]
    • Arizona Republic
  2. It's a small movie but an effective one, using found footage as a means to an end and not as an end in itself. More like it would be a welcome trend.
    • Arizona Republic
  3. There is a sad sweetness to the whole affair, for lack of a better term. Or maybe it's a sweet sadness. But O'Brien's outlook on life (he thinks his use-by date may be approaching), and Hawkes' portrayal of it, elevates the film beyond what's on the page, making what's on the screen a lot more satisfying.
    • Arizona Republic
  4. Despite its emotional coldness, the film still manages to end on a note of something like hope.
    • Arizona Republic
  5. It's not that the artificiality doesn't work sometimes. It does, as some of the scenes are gorgeous to look at. But too often it serves as more of a distraction than an effective tool for telling the story.
  6. Hitchcock is, well, fun. More fun than good, really. It feels weird to call it a disappointment, because it is entertaining. But you can't help feeling a little shortchanged on the deep-thinking front.
  7. One of those movies that's good, but leaves you with the nagging feeling that it could have been better.
  8. Solid, enjoyable, good, but not great.
  9. Barsky’s film is light on biographical detail before Koch’s first term began, in 1978. That’s probably fitting. Koch obviously lived for the job.
  10. As an analysis of the causes of migration, it is one-dimensional and unconvincing. But as a social history of Latinos in America, it is provocative and fascinating. And as an indictment of decades of economic injustice and covert military action committed in the name of freedom, it is devastating.
  11. Dominik Moll downplays the overtly scandalous nature of the story, at least for a while, with a leisurely pace heavy on imagery. He’s made a beautiful-looking film that portends disaster. And disaster arrives, eventually. It just takes its time getting there.
  12. There is something immensely rewarding about being in the hands of a director whose confidence is such that he can lead us to uncomfortable places and we’ll go eagerly along for the ride, just to see where it leads.
  13. Old Goats is a nice little slice of life, even if it’s a (partly) fictional one.
  14. What stays with you is Franco, one of the more enigmatic actors around, going way over the top yet grounding his performance in … something. Whatever it is, it’s more interesting than all the wet T-shirt contests in the world, and it makes Spring Breakers worth watching.
  15. The risk of telling three distinct-but-related stories is that all may not be of equal quality. That’s the case here, as the movie starts strong but gets progressively weaker, particularly in the third act.
  16. 42
    Helgeland has given us an impressive introduction to one of the most important men in U.S. history. But you can’t help wanting more.
  17. Yes, in the end, Trance is pretty manipulative. But again, with Boyle behind the camera, it’s a more satisfying experience than it might have been. If we’re going to be manipulated, it might as well be by a master.
  18. The story probably doesn’t stand up to heavy scrutiny, and at times the effort by star and director shows. But at least the effort is there.
  19. As cautionary tales go, Disconnect is a pretty good one, but it’s not really a whole lot more than that.
  20. Downey is as funny as ever, if not more so. He ensures that Iron Man 3 is a solid installment in the franchise, and helps to make it seem, at least for a time, that it might be something more.
  21. Simon Killer is a beautifully made look at ugliness and brutality, the kind of oxymoronic exercise that fascinates some and repels others.
  22. When you watch the movie, you’ll know more about these characters than they know about each other. But Moshe, who also wrote the script, brings the truth to light in dramatically satisfying ways.
  23. The film wraps up too neatly to be believed, not leaving questions unanswered so much as failing to ask them.
  24. If you like your summer-movie explosions huge, Man of Steel delivers. But it seems as if it might have delivered even more than a glorious noise.
  25. It is a smart, well-acted drama, and another chance for Marling to exercise her unique talents, creating intriguing characters on the page and the screen.
  26. You certainly won’t find a lot of films like Sightseers. To call it a dark comedy is to undersell “dark” and oversell “comedy.” A very British affair, it exists to suggest laughter more than induce it.
  27. It’s cute, funny, exciting to look at but not quite magical.
  28. It’s predictable. It’s saccharine. It’s silly. It’s also, thanks to the consummate talents of Stamp and Redgrave, occasionally a joy.
  29. Jordan’s tone is consistently drab and morose, which is fitting enough, but the story drags a bit, bouncing back and forth in time in a manner that is sometimes useful, sometimes not. Overall, though, it’s an intriguing addition to the genre.
  30. It’s not the best movie of the summer, not by a long shot, but if there’s such a thing as smarter dumb fun, this is probably it.

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