Arizona Republic's Scores

  • Movies
  • TV
For 1,196 reviews, this publication has graded:
  • 66% higher than the average critic
  • 3% same as the average critic
  • 31% 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 Gravity
Lowest review score: 10 The Legend of Hercules
Score distribution:
1,196 movie reviews
  1. The lyrical book is filled with touches of magical realism. On the other hand, the movie is sorely lacking in both magic and realism. It’s all very empty and blah.
  2. A popular topic for debate is whether television or movies are better right now. Movie defenders are not going to want to use Dorfman in Love to bolster their argument.
  3. If you’re just going to rip off the action movies of yore, why not rip off more of the good stuff?
  4. The movie, based on the novel by Stephenie Meyer of “Twilight” fame and directed by Andrew Niccol, is just kind of dumb. Like the more famous books and movies, about a love triangle between a vampire, a werewolf and a human girl, it often plays like a teenage girl’s idea of how literary romances play out.
  5. There is a lot of yelling and emoting and it all gets strident very quickly — as in, the first 10 minutes. Hogan keeps everything self-consciously quirky, with lots of bright primary colors all over the place, but it feels like wild overkill.
  6. Some of the imagery is memorable, in a twisted-horror kind of way. Zombie has no trouble scaring up atmosphere. But other scenes are ridiculous, unintentionally funny, particularly one he builds up to ominously, only to give us a silly payoff.
  7. It’s a juicy story squandered by the poor telling. It’s got all the trappings of a good ol’-fashioned Merchant Ivory pic — lush locales, exotic period trappings — but none of the soul.
  8. The elements are all there. They’re just thrown together in haphazard fashion. A funny scene here, an attempt at a touching scene there, toss, repeat randomly, the end.
  9. The ending is sick enough to make it almost worth the wait. Key word: almost.
  10. The dialogue is particularly bad, which is odd because the Duplass crowd typically excels at natural-sounding dialogue.
  11. It's an unnecessary movie, with some funny parts and a few callbacks to the original, as if visiting Las Vegas for a bit might bring back some of the original magic. It doesn't, but at least this time it seems like they're trying. A little, at least.
  12. The jolts are of the jump-out-from-behind-the-door variety; you can see them coming from a long way off, too. Shyamalan seems to no longer have the confidence to let audiences figure things out or the patience to allow them to.
  13. The Internship has some funny moments. The cast is too talented for it to come up completely dry. But for a movie about a place so filled with ambitious climbers, it is far too lazy.
  14. It’s a maudlin, meandering bit of moviemaking that sheds little light on the loyal opposition in the North.
  15. The Lone Ranger is a frustrating exercise in overkill, a kind-of, sort-of interesting idea buried in summer-movie excess.
  16. The gags are stale, the characters uninvolving and bits meant to titillate don’t.
  17. There are a few laughs here and there, along with a couple of jokes for grown-ups uncomfortably squeezed in. But this is a movie made for two groups: small children and people who have fond memories of the TV show.
  18. What makes mythology so great is its sense of danger, the threat of real loss. This version of “Percy” has none of that.
  19. Planes was originally scheduled to be released straight to video. Although the smallest children might like bits and pieces of it, there’s nothing in the movie that suggests why Disney strayed from its original plan.
  20. Paranoia is ostensibly a thriller, but there’s nothing remotely thrilling about it. This slick, plodding bore is as exciting as watching somebody else tap out text messages.
  21. There’s so much bouncing around in tone and story that this film never really finds its footing. It flounders around trying to figure out what it should be, and never really settles on anything.
  22. Austenland plays out like an overly elaborate excuse to have people act silly in corsets and bloomers.
  23. The movie ultimately winds up falling between two stools, failing as both a biography and an action film. Martial arts fans will naturally be drawn to the story, but the film does nothing to open up the world to outsiders.
  24. Yes, The Family has skills. They’re like “The Incredibles” — except they’re heroes for sadists and sociopaths only.
  25. Except where “The Conjuring” invigorated horror-movie tropes with inventive application and strong characters, Insidious only wallows in them.
  26. Diggs does what he can with the part, as does Patton. There are some funny moments, because most of the cast is so charming. But not enough to make up for the Stone Age attitude about women and marriage.
  27. Turns out there can be too much of a good thing. Or a campy thing. Or a silly thing. Or a subtle-as-a-brick-in-the-face thing.
  28. Nick Ryan’s documentary looks at the disaster by using interviews, actual footage and re-enactments. The latter move undercuts some of the movie’s authenticity. Granted, there probably wasn’t another way to film it, but it muddies the film’s sense of truth.
  29. The characters aren’t the only things painted in broad strokes. Sweetwater is rife with gauche symbolism and imagery.
  30. Comparisons are unfair and inevitable. But even when taken on its own terms, the new Carrie rings hollow, a horror movie that is unsure of itself, with little to offer the uninitiated and less to offer fans of the first film.

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