Arizona Republic's Scores

  • Movies
  • TV
For 1,355 reviews, this publication has graded:
  • 64% higher than the average critic
  • 3% 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 Winter's Bone
Lowest review score: 10 The Legend of Hercules
Score distribution:
1,355 movie reviews
  1. The story of how Moore made the movie is ultimately more interesting than the film he’s put together. It’s not for lack of trying. It’s more a lack of a cogent story.
  2. The end result is as dour and unilluminating as British weather.
  3. A fast-starting film that quickly piles meta, self-referential elements on top of each other until they no longer make much sense, and the whole thing collapses under the weight of its own coolness.
  4. There are some things to admire in the film, based on the French movie "Pour Elle," most of which involve developments that would give too much away.
  5. Give credit to Esmail, however, for coming up with an inventive way to tell the story, even if the execution doesn't live up to the idea. He shows great confidence as a director, and the film has a unique look, with heightened reality providing clues that this really is a different world, or worlds, even.
  6. This is a rich, and important story. There’s no argument there. The only problem with “Son of God” is that there are much more compelling ways to tell it.
  7. Focus. Tooth Fairy isn't as bad as you may have feared. It's not all that good, either, but at least it's possible to sit through it and hold down your popcorn.
  8. The story is the problem here, devolving into a ridiculous situation that produces far more groans than chills or thrills.
  9. Owen and Binoche both are quite good, rising above the material for the most part. But even they can't save the film from itself, or from an ending that's downright bizarre.
  10. It never really comes together in a satisfying way, and given the talent involved, that adds up to a big disappointment.
  11. Into the Storm plays like a special-effects demonstration in search of a movie, but you have to give it to the filmmakers: They take no half-measures.
  12. The franchise... concludes with a genuinely stirring ending. ... But [Stewart's] acting hasn't improved, and the dialogue remains laughable. Bad actress, bad lines. Bad combination.
  13. A harmless little mess of a movie whose cast you've mostly heard of, including Tim Allen, who also directed.
  14. There are scenes here and there that are worthy, but many that aren't. Lipsky tries to use dialogue to cover up weaknesses in other areas - such as why these people behave the way they do. Some of the movie is inviting, some of it off-putting.
  15. The movie is not uninteresting, but a viewer isn't breathlessly waiting to see how things will wrap up, either. By the third act, you even start to get impatient with the characters. That's not exactly a ringing endorsement.
  16. The look of the film is impressive, as are the effects. Overall, however, it's a big, loud, 3-D-drenched jumble.
  17. An emotionally inert film that never pulls viewers into the spiraling web of deceit that the couple face.
  18. In The Internet's Own Boy, writer-director Brian Knappenberger ("We Are Legion: The Story of the Hacktivists") paints a portrait of Swartz as a martyr for the information age, but ultimately the story falls short of such mythic ambition.
  19. The movie plays like a missed opportunity, with its by-the-numbers scares and a story that feels disjointed, hurried in some places, slow in others.
  20. Cloud Atlas is ambitious in nature, epic in scope and, ultimately, a big, overstuffed mess. [24 Oct 2012]
    • Arizona Republic
  21. Although it contains some interesting characters, God's Pocket, like the neighborhood it depicts, is the kind of place you can't wait to escape, even if its inhabitants cannot.
  22. We’re the Millers plays like a “Saturday Night Live” skit that goes on too long.
  23. The general dippiness isn't helped by the dialogue: "Every word in Italian is like a truffle!" Gilbert exclaims as she learns the language. Equally annoying is the gauzy lighting, which gives Roberts a sweetly angelic glow most of the time.
  24. Guilt, grief and the struggle to move on are big themes, but unfortunately, director Burr Steers and his script writers aren't interested in exploring them.
  25. There's a great film hiding somewhere in the wreckage of "Love Ranch."
  26. A by-the-numbers, good-vs.-evil tale.
  27. Writer-director Amat Escalante was named best director at the 2013 Cannes Film Festival for this project, and although it obviously is made with some skill, it also is unrelentingly dire.
  28. An improvement over its predecessor.
  29. It's hard not to be disappointed with The Change-Up, which in the end follows the basic conventions of the switched-identity genre, if more profanely, changing up not much at all.
  30. If it weren’t for his voice, Kutcher would have been the ideal choice to star in Jobs, a well-meant but ultimately unsurprising biopic.

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