Arizona Republic's Scores

  • Movies
  • TV
For 1,441 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 Wreck-It Ralph
Lowest review score: 10 The Legend of Hercules
Score distribution:
1,441 movie reviews
  1. Olsen makes us understand, as best we can, Martha's plight. She has a tenuous grip on reality, and, thanks to Olsen's performance and Durkin's sure hand, by the film's end, so do we.
  2. This is one of the strangest yet most satisfying movie experiences of the year, one of those films in which you can’t really appreciate what you’ve seen until it’s over. You just have to trust that the trip is worth the trouble. And it is.
  3. A host of British acting royalty, meanwhile, roams around the film: Derek Jacobi as the Archbishop of Canterbury, Claire Bloom as Queen Mary, Timothy Spall as Winston Churchill and so on.
  4. It actually is quite funny. It is also warm and empathetic, though a viewer's reaction to the film might vary depending how they view the subject of assisted suicide.
  5. Director Craig Zobel (he made the creepily effective “Compliance”) lets the story unfold in wonderfully hushed fashion.
  6. This is the kind of movie about teenagers that an adult audience should embrace. It's simply that good, and Stone is nothing short of wonderful.
  7. Ida
    Spare, haunting and in its own way beautiful, Ida is an absorbing film about discovering the truth, and the attendant price we pay to learn it.
  8. A Girl Walks Home Alone at Night is a terrific film, if you give yourself to it. You should, because, with Amirpour's blending of influences and pop culture, she has created a true original.
  9. A sense of dread hovers over all these characters, and, by extension, the audience. It's in the air of the place, like oxygen. And vodka. Lots of vodka. Yet Zvyagintsev's achievement, or one of them, is creating a film that is not one long downer. It's not exactly a laugh riot, but we do care about these people.
  10. It's all or nothing with Black Swan. Either you embrace its headlong descent into madness brought on by the pressures of artistic perfection, compounded by smothering anxiety, or you reject it. It's that simple.
  11. The catharsis found here is far quieter, and much more effective, whether it be the pain expressed in a student's essay or the honesty found in a simple gesture, one that ends the film in beautifully moving fashion.
  12. It is undeniably fun to see such a great movie sliced and diced and put back together in so many ways. Too often when we see a movie we like, we just say it’s good, recommend it to someone and leave it at that.
  13. The film is slow at times, despite bursts of action, and Chandor could have let it breathe a little more. The seriousness grows stuffy every now and then, but these are small quibbles. A Most Violent Year is an outstanding movie about business and marriage, not necessarily in that order.
  14. The film is not an epic. It's not a masterpiece. But it is an involving study of men searching, searching for answers, for belonging, for a foothold in life at a time when footholds were hard to find.
  15. Martin Scorsese’s The Wolf of Wall Street is absurd, ridiculous, over the top, overindulgent, overlong, overstuffed, over-everythinged. And that is precisely the point.
  16. As its title suggests, This Is Not a Film may not be what we're used to in a movie, but in many ways it's much, much more.
  17. Chomet's defiantly two-dimensional artwork is warm, inviting, beautiful, establishing immediately a comfort level, at least for audiences of, ahem, a certain age.
  18. It’s fascinating and funny while forcing us to consider the line between technology and art.
  19. It's great when a movie messes with your head. And Ex Machina, screenwriter Alex Garland's directorial debut, does just that, pretty much from start to finish. The writer of "28 Days Later" and "Sunshine" purports to examine A.I., or artificial intelligence. What he's really after is something at once more exotic and more relatable — and infinitely less predictable: human nature.
  20. James Ponsoldt’s film, and its stars, Miles Teller and Shailene Woodley, continually take us in unexpected directions, giving the film an unexpected depth. It feels real, its emotions earned.
  21. It's Douglas' movie - and you've got a fine movie.
  22. The Cabin in the Woods is a fantastic poke in the eye of our horror-movie expectations.
  23. 127 Hours is based on Ralston's memoir, and it's a really good movie because director Danny Boyle is a genius.
  24. This isn't a movie for everyone, but for fans of quirky charm leavened occasionally by uncomfortable, realistic exchanges, it's a small delight.
  25. The movie’s best moments are the small ones.
  26. Please Give is an almost perfectly rendered slice of life, buoyant with wonderful performances.
  27. Frozen is a delightful animated musical, a return to form for Disney animation with an intriguing story and terrific songs.
  28. There isn't a false note among the performances. It's the first movie for Hayward and Gilman; whatever awkwardness they display is appropriate. Willis may never have been better. Norton is fantastic. Murray and McDormand are also ... well, you get the idea.
  29. It's feel-good, no question about it. But it's also absorbing, important and inspiring.
  30. For a movie that seems at times to have no idea what it's trying to do, 'Silver Linings Playbook' is compulsively watchable. ... Throwing together so many movie tropes and blending them is both a brilliant idea and a scary one, but one that Russell proves well capable of handling.

Top Trailers