Arizona Republic's Scores

  • Movies
  • TV
For 1,787 reviews, this publication has graded:
  • 62% higher than the average critic
  • 4% same as the average critic
  • 34% lower than the average critic
On average, this publication grades 2.1 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:
1787 movie reviews
  1. So what drives these men? “Because it’s there” merely scratches the surface. Meru may not answer the question completely — likely nothing can — but it is a thrilling, harrowing attempt.
  2. It's a style of storytelling that leaves the audience guessing, but it also gives the actors room to breathe, to inhabit their characters without having to explain them away in terms of biography or pop psychology.
  3. Ultimately it's Wasikowska's performance that captivates. It's oddly compelling — she doesn't say much, and what she does say is usually off-putting. But there is a fierceness in her eyes as she walks, a determination that almost dares you to look away.
  4. 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.
  5. 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.
  6. The same effortless chemistry that made the comedians such ideal Golden Globes hosts is on full display in this broad comedy, given extra oomph by a wise and glorious R rating that opens the floodgates of creative vulgarity.
  7. Disney scholars may scoff that it’s not a warts-and-all portrayal of the struggle to bring “Mary Poppins” to the screen, but that seems almost churlish in light of the enthusiasm Hanks brings to the film, or the eventually melting icy facade Thompson puts up.
  8. The charms of the leading ladies are hard to resist, as are their rare moments of clarity and self-awareness. Saunders is a tumbledown hoot while Lumley can generate a laugh with simply a deadpan stare, yet both seem a tad more human this time around. Just a tad.
  9. Fanning is nearly perfect as Ginger navigates choppier waters than most teens have to. There is not a false note in her performance; no matter how melodramatic things become, everything about Ginger remains genuine.
  10. Muylaert goes for answers and, at times, they may come a little easily for all of the turmoil that leads to them.... But Casé’s performance overwhelms any such quibbles. She is a delight, and thanks in large part to her performance, so is The Second Mother.
  11. Although this movie isn’t as well-made as Gibney’s best work, like “Going Clear: Scientology and the Prison of Belief,” or the Oscar-winning “Taxi to the Dark Side,” it’s plenty interesting, and serves as something of an appetizer for Danny Boyle’s biopic “Steve Jobs,” due Oct. 9.
  12. Paterson keeps plugging away, despite the intrusion of some outside forces. Making art is simply part of his makeup, and it makes Paterson a hopeful film.
  13. Damon can elevate just about anything in which he appears.
  14. It's this simple: If you like movies, you need to see Side by Side.
  15. What's surprising here, and pleasantly so, is the restraint shown by Mortensen and Fassbender -- and by Cronenberg.
  16. Humor is the most powerful weapon deployed by director Kenneth Branagh in Thor, his rollicking take on the comic.
  17. Good movies create their own worlds, and that’s certainly true of Goodnight Mommy — even if it’s a world you wouldn’t want to live in.
  18. Yes, Glazer asks a lot of his audience. At times the movie feels like something you've walked in to the middle of, so you're thrown off balance. Yet it's hypnotic — you want to stick around to see what happens, and maybe just to figure out what the hell is going on.
  19. Mendelsohn manages to make us simultaneously feel sorry for him and hope, against what seem like steep odds, that he somehow succeeds.
  20. Joe
    Cage is getting down and dirty again in Joe, and it's pretty remarkable — the performance more so than the film, and the film's good.
  21. It's just as accurately described as a bunch of British guys sitting around acting. But what actors! The cast includes Gary Oldman, Colin Firth, Tom Hardy, John Hurt, Mark Strong,Ciarán Hinds and Toby Jones.
  22. Slow, stark and sometimes surreptitiously beautiful, Michael Haneke's The White Ribbon is as cold and clinical an examination of evil as you could imagine.
  23. Through dogged research and interviews with the (now-grown) children Maier cared for, along with their parents (including Phil Donahue), a profile emerges, and it's fascinating.
  24. Like the original, Finding Dory makes us understand the fears, joys, struggles and triumphs of family.
  25. [An] enormously entertaining documentary.
  26. Like Someone in Love is not a complicated story, but in Kiarostami’s telling, it is a rich one, and a rewarding one, too.
  27. Hanks could do this kind of role in his sleep; luckily he doesn’t. Like Spielberg, we probably take him and his gifts for granted. Between the two of them, they make Bridge of Spies a movie that works as a period piece and a timely commentary on how we live now. If that sounds like faint praise, it shouldn’t. Because it’s not.
  28. The only flaw here is the score. It's beautiful but so obtrusive, particularly at the start, that it threatens to turn the proceedings into melodrama.
  29. With incredible attention to detail and an unwavering commitment to the world he has created, Eggers slowly, surely builds tension until it's almost unbearable. And that's delightful, if you're a horror fan. It's a terrific film.
  30. for those willing to go along with von Trier's typically in-your-face tactics, it's a good, if uncomfortable (and surprisingly funny), film. And the discomfort is part of what von Trier is after.

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