Arizona Republic's Scores

  • Movies
  • TV
For 1,893 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 1.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 La La Land
Lowest review score: 10 The Legend of Hercules
Score distribution:
1893 movie reviews
  1. Yelchin and Poots are especially good.
  2. The feminist subtext should come as no surprise given Larsson's lifelong advocacy on social-justice issues, but it also is a refreshing slant on the familiar character dynamics of crime fiction.
  3. It's also perfectly content to be an insanely violent, funny take on an established genre. And in that respect, Kick-Ass lives up to its name.
  4. The movie plays to Fincher's strengths, with its dark elements and cool feel, combining for a bracing pop-culture experience.
  5. This film is a wonderful act of imagination on its own.
  6. Negga is fantastic. Her eyes alone convey passion, the feeling that she has had enough. Words aren’t needed. Good thing, because neither she nor Richard use them too much. They’re living their lives, harming no one, and being harmed for it. It makes the story one of the best examples of making a universal situation personal.
  7. Catching Fire is a great leap forward for the franchise. Seeing as it’s all about hope and what it represents, here’s hoping the next two are just as good, if not better.
  8. Coppola's audacity in not only portraying the unmoored nature of Marco's life but immersing the audience in it proves satisfying over time.
  9. This is the rare movie with no one to root against, a film filled with good guys and weird guys (and gals), all of whom you hope find what they're looking for, even if you know that's not possible.
  10. 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.
  11. Perhaps the greatest compliment you can pay Victoria is that while you go in knowing about the gimmick, it doesn’t take long for Schipper to make you forget it almost entirely.
  12. A well-acted, nicely directed, quiet little movie.
  13. It is a tremendous performance by Jones, who co-wrote the script with her own ex-boyfriend Will McCormick, who appears as a drug-dealing friend with surprisingly grounded advice for just about anything.
  14. Brutal, sadistic yet well-made statement about how violence is portrayed in media and our reaction to it.
  15. This is director Jake Schreier's first feature, and, working from a script by Christopher D. Ford, he creates an inviting world.
  16. Bell lets the action onscreen tell a story that’s every bit as rousing as a Disney adventure.
  17. The real draw of Arthur Christmas is simpler: It's really funny.
  18. The directors include interviews with descendants of the original settlers and with later arrivals — too much so, actually, as the lengthy scenes interrupt the flow of the mystery. But they don't derail it. The story is too lurid, too rich, too compelling.
  19. Lawless is one of those movies that feels like it's trying to say something more important than it really is. It could have been better, but with Hardy and Pearce on board, it's plenty good enough.
  20. As Kumaré plays out, both Gandhi and the film become something else, something much more thoughtful and moving. It is, as he puts it, the biggest lie he has ever told and the greatest truth he has ever known.
  21. The perfect movie for fans of "The Daily Show" who actually stick around for the second-half interview. A cinematic memoir based on the one-man show by Mike Birbiglia, it is the aesthetic intersection of Comedy Central and public radio.
  22. Sound City is a music geek's dream, a rollicking look at a dumpy California studio where a lot of musicians found magic. It's also a bit of a mess, like all good rock and roll ought to be.
  23. A documentary that delves into what happens when the ghost stories you told as kids, the stuff of urban legends, seem to come true.
  24. There isn't a cynical bone in this film's achingly sincere body. And it's not really a horror movie, unless the "horror" in question is the all-consuming awkwardness of young love.
  25. It's outstanding work (Carell). It's also a really funny movie.
  26. Her (Williams) performance is so engaging and complete, it's worth all the other shortcomings.
  27. It's always entertaining to see a genre tweaked, at least when it's done so with the proper mix of respect and madness at work in Slow West.
  28. Director Susanna White keeps things low-key and absorbing, as the action moves from Marrakesh to London to Paris to Switzerland.
  29. Engagement with the enemy isn't a possibility here. It's a certainty. The unit will face fire daily, sometimes as often as four or five times. The stress is incredible, the courage displayed even more so.
  30. In a movie with uniformly outstanding performances, Rockwell, as ever, is especially good. So is Carell, playing against type. But what makes The Way, Way Back stand out is Faxon and Rash’s obvious familiarity with what Duncan is going through.

Top Trailers