Arizona Republic's Scores

  • Movies
  • TV
For 1,403 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 A Separation
Lowest review score: 10 The Legend of Hercules
Score distribution:
1,403 movie reviews
  1. The film is not without charm, much of it provided by Larson as the sneakily demanding Brie. Liu is also funny and vaguely dangerous, while Henke is an agreeable presence. As for Hall, he's not asked to do much more than mope.
  2. Documented is obviously a bit of advocacy filmmaking, which is fine, but most of the time it's not compelling enough to reach beyond the converted.
  3. While some of the sequels have been entertaining enough, A Good Day to Die Hard signals that it may be a better day for John McClane to retire.
  4. Lola Versus isn't a bad movie. It's just not a particularly noteworthy one. It's too self-consciously ... everything.
  5. You can’t help feeling as if Miller has missed an opportunity. Punk rock was all about manic energy, unbridled (and often unfocused) passion. CBGB plays more like a folk tale.
  6. Lee Toland Krieger's film masquerades for a while as a romantic drama brainier than most, getting good mileage out of an intriguingly odd performance from Blake Lively. But ultimately, the movie relies far too much on contrivance and coincidence.
  7. It all falls flat. Not completely — there is simply too much talent involved for the film to fail completely.
  8. Shankman gets enormously entertaining performances from Tom Cruise and Alec Baldwin, so much so that it's a problem: The movie's not about them.
  9. 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.
  10. The end result is as dour and unilluminating as British weather.
  11. 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.
  12. 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.
  13. 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.
  14. 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.
  15. 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.
  16. The story is the problem here, devolving into a ridiculous situation that produces far more groans than chills or thrills.
  17. 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.
  18. It never really comes together in a satisfying way, and given the talent involved, that adds up to a big disappointment.
  19. 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.
  20. 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.
  21. A harmless little mess of a movie whose cast you've mostly heard of, including Tim Allen, who also directed.
  22. 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.
  23. 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.
  24. The Minions themselves aren't as endearing as they are in the previous movies, maybe because there are fewer of them bumbling around, or maybe because they just haven't found their true supervillain love yet. Or maybe some sidekicks, no matter how loveable, just aren't cartoon-hero material
  25. The look of the film is impressive, as are the effects. Overall, however, it's a big, loud, 3-D-drenched jumble.
  26. An emotionally inert film that never pulls viewers into the spiraling web of deceit that the couple face.
  27. 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.
  28. 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.
  29. Cloud Atlas is ambitious in nature, epic in scope and, ultimately, a big, overstuffed mess. [24 Oct 2012]
    • Arizona Republic
  30. 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.

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