Arizona Republic's Scores

  • Movies
  • TV
For 1,372 reviews, this publication has graded:
  • 64% higher than the average critic
  • 4% same as the average critic
  • 32% 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
Lowest review score: 10 The Legend of Hercules
Score distribution:
1,372 movie reviews
  1. 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.
  2. 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.
  3. Cloud Atlas is ambitious in nature, epic in scope and, ultimately, a big, overstuffed mess. [24 Oct 2012]
    • Arizona Republic
  4. 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.
  5. We’re the Millers plays like a “Saturday Night Live” skit that goes on too long.
  6. 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.
  7. 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.
  8. There's a great film hiding somewhere in the wreckage of "Love Ranch."
  9. A by-the-numbers, good-vs.-evil tale.
  10. 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.
  11. An improvement over its predecessor.
  12. 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.
  13. 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.
  14. Oh, all right, some of The Other Woman is funny. The parts with Leslie Mann, mostly, who makes this hit-and-miss, problematic comedy directed by Nick Cassavetes far more entertaining than it has a right to be.
  15. Of the bunch, Plaza, Minghella and Parker fare best, though Parker's Ben is weighed down with cliches. Alex ostensibly is the focal point of the film, but Ritter is relegated mostly to observer status, healing while watching the melodramas unfold around him. A few of them are interesting. But not enough, not in a story that seems familiar because, after all, it is.
  16. The visual effects are impressive, and there is a certain kick to seeing the human characters dodging barrels in a life-size Donkey Kong. But we don’t really care about the humans; here, at least, Q*bert is more endearing than Adam Sandler.
  17. Half of a Yellow Sun winds up being one of those movies in which a pesky event of great historical import keeps getting in the way of a soap-opera romance.
  18. You shouldn't be able to read a book faster than you can see it play out on-screen.
  19. You come away from watching the film with a moral bellyache.
  20. Allen builds to a climax that is ridiculous and a comment on … I don’t know. Fate? Folly? There are plenty of both in Irrational Man, but they’re not often a comfortable mix.
  21. Blomkamp regular Sharlto Copley is quite good — as Chappie, in a motion-capture performance. (He also provides the voice of the robot.) If this were somehow a commentary on man's increasing lack of humanity or something, that would be fine. Instead, it's just good work buried inside a movie made up of intriguing ideas that never really go anywhere.
  22. There's no question that Black women are underrepresented in movies. There's also no question that when they get a chance to perform, they deserve a better movie than For Colored Girls.
  23. Hop
    Check your driver's license - if you have one, you're probably too old to get the most out of it. If not, you may find your satisfaction a little harder - though not impossible - to come by.
  24. Now You See Me is a movie about magic, but its most astonishing trick is how little mileage it gets out of a stellar cast.
  25. The scares don't stay with you. They're the horror-movie equivalent of junk food.
  26. Individually they are all good here, though Hardy's skills don't necessarily translate that well to romantic comedy -- which could have been used to good effect, but McG doesn't have the touch to pull that off.
  27. Welcome back, Whit Stillman -- with Damsels in Distress, the hipper-than-thou club is back in session.
  28. There are some compelling elements here, probably too many for one film, but they're too often presented in a cliched way. Connor and co-director Michael Worth go for the easy sentiment, the expected route, leading to middling results.
  29. This is a first-rate cast in a second-rate story with some entertaining bits and some maddening holes. That combination works for late-night channel surfing. Anywhere else, not so much.
  30. Supporting turns by Philip Rosenthal and David Alan Grier as two pals in the business are fun, but they can't prevent the movie's rather aimless nature or self-indulgent feel.

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