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 Zero Dark Thirty
Lowest review score: 10 The Legend of Hercules
Score distribution:
1,196 movie reviews
  1. Director Michael Dowse (from the underrated Topher Grace comedy "Take Me Home Tonight") fuels the story with atmosphere, with lots of nighttime activity and bustle. He keeps things grounded in reality, though little touches (Chantry imagines her drawings coming to life) add an extra — and, perhaps, excessive — sweetness.
  2. The movie belongs to Gleeson, commanding in every scene, even when he's sitting silently, listening to another sinner go on about what's wrong with everyone else.
  3. It's just a good yarn, well told. So don't be deterred by the title (it sounds like a lame horror movie) or the description.
  4. There's a purity to the experience of watching a film so naturalistic, like living in someone else's life for two hours.
  5. The brutally sparse documentary Rich Hill removes poverty from the realm of the abstract and makes it personal.
  6. Not a lot happens, other than eating between small bits of drama and large doses of humor. If you saw the first film, you know how good that can be.
  7. It's almost as difficult to sit through Starred Up as it is satisfying to watch it.
  8. The reason to see it is the humanity the outstanding cast brings to the film. The emotions these people feel, the moments of grief, of anger, of love and of clarity they experience, feel both real and recognizable.
  9. Wingard and screenwriter Simon Barrett last worked together on You're Next, a ferocious film that is also intelligent. They're even more successful here.
    • 53 Metascore
    • 80 Critic Score
    The film begins with upbeat music and what appears to be a comedy-of-errors setup, but it becomes so much more, bringing us through dark territory with wit, anger and grace, becoming in the end a much fuller tale for it.
  10. This is a film that deals with suicide, missed chances, depression, infidelity and more. Yet the movie itself isn't depressing, thanks to Hader, Wiig and director and co-writer Craig Johnson.
  11. 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.
  12. It is a quiet but intense and closely observed piece of work.
  13. The film, directed and co-written by Jorge R. Gutierrez, is a visually stunning, funny movie that trusts children to deal with subject matter that many films don't: specifically, death.
  14. It's the best kind of fairy tale — tough, deep and meaningful, with a heroine who stays true to herself in spite of shallow temptations.
  15. The acting is outstanding. And there's a lot of humor. True, we're often laughing at Philip (when we're not cringing), instead of with him. But Perry also goes for more traditional laughs.
  16. A thick film of sleaze coats every frame of Nightcrawler, a movie that takes a hard look at media culture and provides Jake Gyllenhaal a terrific opportunity to creep us all out.
  17. The story Snowden tells is, of course, absorbing, disturbing and, yes, scary. Poitras' film, playing out as more and more is revealed, reported and published, comes off like a real-life spy thriller.
  18. Ostlund's film is beautiful, capturing both the stunning scenery and the danger of the slopes and the mountains. Sure, everything looks great, but it could all fall apart in disastrous fashion at any moment.
  19. In Interstellar, Nolan has created a universe where ultimately the possibilities are endless. At its best, the film feels the same way.
  20. A heartfelt, moving and bracingly honest document of a famous man as he fades away.
  21. Freeland does a fine job, waiting for her characters to converge in a way that doesn't feel overly forced, though there is a bit of that "Crash" tidiness in how things fall together. Still, the film is moving and human.
  22. Floridly explicit, gleefully disgusting and yet somehow kind of sweet, the film is a showcase for Carla Juri.
  23. The Theory of Everything breaks down simply, perhaps too much so: a great performance in a good movie.
  24. Daybreakers isn't a great film, but it's a good one, and in a market oddly lousy with vampire tales, it's an original.
  25. Its over-the-top violence is cartoonish at times, menacing at others - which is a good thing. And truly, if one must wander a barren, post-apocalyptic landscape with somebody, who better to wander with than Denzel Washington?
  26. Writer and director Ti West accesses all the hot buttons for fans of the genre in a manner that doesn't make fun of it (and its followers) in a "Scary Movie" way, but instead treats it with the appropriate amount of respect. (Key word: appropriate.)
  27. Both the film and television project were directed by Martin Campbell. He creates a nice level of tension throughout, and there are a couple of legitimate shocks (including one jaw-dropper).
  28. To pretend that the film doesn't make a political statement is silly. Of course it does. It wouldn't be effective at all if it didn't.
  29. It does give Cera a chance to play at being a bad boy. But it's just that - playing at it.

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