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 Short Term 12
Lowest review score: 10 The Legend of Hercules
Score distribution:
1,196 movie reviews
  1. A precisely calibrated crowd-pleasing machine, balancing action, comedy and just the bare minimum of pathos.
  2. A delicious trifle for anyone who has ever dreamt of bantering about the cinema with Luis Buñuel or lounging at the piano to hear Cole Porter sing "Let's Do It."
  3. Greenwood is fantastic; his Meek occasionally lets down his facade of omniscience - but only occasionally. And Williams gives Emily not dignity exactly, but a calm, steely insistence on survival.
  4. A tremendously entertaining take on film noir, with all the usual elements of the genre in play - crime, death, possibly murder and doomed romance.
  5. It is just a tremendous amount of fun.
  6. There are moments when this funny, self-consciously quirky film feels a bit like a Welsh "Napoleon Dynamite."
  7. Beautiful, baffling, poetic, pretentious, it's one big ball of moviedom. Malick tackles the whole shooting match, pondering (and showing) the creation of the universe, life itself, death and the afterlife, and everything in between.
  8. As much as his admirers praise him, they also say they don't know much about him or his private life. Press opens a small window into that world.
  9. For most of the film, Weitz, riding a fantastic performance by Demián Bichir as the landscaper in question, succeeds in showing the day-to-day struggles that exist beneath the political rhetoric and upper-case headlines.
  10. With shifting loyalties, unlikely heroes, truths revealed and a little help from friends, Harry Potter and the Deathly Hallows: Part 2 winds the series up in a most-satisfying fashion.
  11. Sweet, gentle and defiantly retro (the 2-D hand-drawn animation is superb), the movie is irresistibly charming.
  12. He's always on - this is a documentary, after all, so even when O'Brien is offstage, he's still performing in some capacity, cracking wise at the camera, of whose presence he is acutely aware.
  13. Terri is almost an anti-teen-coming-of-age teen-coming-of-age movie. And it's terrific.
  14. Shot in verite style with handheld cameras and rule-breaking quick cuts, Cahill's film moves slowly between moments of heartache and quiet beauty.
  15. Thanks to a particularly even-handed job by director Michael Rapaport, the story emerges as compelling, even for non-fans in the audience.
  16. Some people will find Miranda July's film a poetic triumph, a meditation on responsibility and disappointment. Others will find it hopelessly pretentious, one of those movies only pointy-headed critics can abide. I found the film to be more of the former than the latter. Except when the cat talks.
  17. Kapadia does an outstanding job of getting at what Senna meant to Brazilians and to his sport. The man himself was a tougher nut to crack, but maybe that's best. A little mystery suits a good story, and Senna is definitely that.
  18. Perseverance is the theme of Life, Above All, a drama that is deeply affecting, if also overwhelmingly bleak.
  19. This is real edge-of-your-seat stuff, in a throwback way - no booming special effects, just old-school timing and execution.
  20. Cavaye is relentless in his quest to entertain, to thrill.
  21. It's a surprisingly moving film. While the fight scenes are unquestionably thrilling, the movie's best bits are not about winning and losing but about pain and, ultimately, forgiveness.
  22. All are good, Damon in particular, but there are so many of them we don't see anyone for very long at one stretch. And all are given at least some bad material to work with before the movie is over. For the most part, they make the best of it.
  23. Think of Drive as the cinematic equivalent of riding in a car that projects a fashionably stylish image. Sure, the gas mileage may be terrible and the engine unreliable, but it's such a smooth, good-looking ride that you'll put up with the annoyances.
  24. Cozi Zuehlsdorff winningly plays a young girl who works at the hospital. With her big smile and natural warmth, she is a charmer. Even better is Gamble, who gives a smart and sensitive performance without relying on any of the normal mannerisms that often afflict child actors.
  25. On some level Moneyball is about loyalty: loyalty to an idea, loyalty to a partnership forged by desperation, loyalty to the values you believe in. Whether that was Lewis' intention in the book, or Beane's intention in taking the risk, doesn't matter. It's the formula Miller came up with for the film, and with the team of Pitt and Hill, it's a winning one.
  26. The film is leisurely paced, as many French films are, and not much actually happens, but as a character study, it feels true, and ultimately moving.
  27. Igawa is almost a magical presence, projecting a calm in Ozu that is infectious.
  28. There's a little "Kramer vs. Kramer" here, a dash of "Transformers" there, and it's all topped with big heap of "Rocky." But it's hard to argue with the results, because, at times, Real Steal is close to a knockout.
  29. Some elements of the film are too melodramatic, but there's not a bad performance in it -- look at the cast and that's not surprising -- and Gosling is outstanding.
  30. Fantastic acting by the likes of Garret Dillahunt, Chris Cooper and Joel Torre lift characters above the cliched, offering a one-sided history lesson that is still well worth learning.

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