Arizona Republic's Scores

  • Movies
  • TV
For 1,806 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 Boyhood
Lowest review score: 10 The Legend of Hercules
Score distribution:
1806 movie reviews
  1. Terri is almost an anti-teen-coming-of-age teen-coming-of-age movie. And it's terrific.
  2. The cultural specificity and fiercely patriarchal setting sets Mustang apart. It’s a timely reminder that, even still, there are few safe havens in the world for a free spirit.
  3. Never miss a chance to see Helen Mirren. You certainly could do worse as far as movie advice goes. Mirren may not be the only reason to see The Last Station, about the final year of Leo Tolstoy's long, eventful life, but she's the best reason.
  4. Shot in verite style with handheld cameras and rule-breaking quick cuts, Cahill's film moves slowly between moments of heartache and quiet beauty.
  5. 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.
  6. Especially rewarding about Oduye's performance is how she's able to portray that frustration while retaining hope and optimism.
  7. Thanks to a particularly even-handed job by director Michael Rapaport, the story emerges as compelling, even for non-fans in the audience.
  8. It’s a Fellini-esque carnival of humanity on display, a more debauched phantasmagoria reminiscent of “La Dolce Vita.” But “La Dolce Vita” created the paparazzi; The Great Beauty takes place in a world where the paparazzi have existed for decades.
  9. This is one of those little movies that stays with you, the announcement of an original voice worth watching. It’s a quirky, magical delight.
  10. Monkey Kingdom is a delightful gambol, visually stunning and educational without feeling like it, with a propulsive drama about escaping one's lowly social class at its core that inspires reflection on some uncomfortable truths about ourselves.
  11. If it is not as urgent as the first film, this is still an excellent companion piece. Together, the movies paint a complete picture of the physicality and mentality of war, and it is riveting.
  12. Yes, “Popstar” is dumb, dirty fun. So what’s not to like?
  13. Surprisingly entertaining, probably because it uses Wall Street shenanigans and schadenfreude as the backdrop to a crime drama.
  14. Mark Ruffalo, in just the right amount of stubble, grease and leather, plays Paul, about as cool an instant dad as a SoCal kid named Laser could hope for.
  15. It delivers its considerable moments of terror in the same way the original film did. But it does deliver.
  16. Although Jonah Hill has been sweetly, profanely funny in such films as "Superbad" and "Get Him to the Greek," in Cyrus he's a revelation.
  17. It’s all quite intricate and entertaining and terrific to look at. The “Fantastic” of the title might be stretching things a bit, but it doesn’t miss the mark by much. Better still, it makes you look forward to, and not dread, the next installment — and that’s real magic.
  18. What's breathtaking here is the scope of greed, corruption, arrogance and above all cynicism on display, not just regarding the system of government but the people it ostensibly serves.
  19. 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.
  20. 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.
  21. We get a sharp look at getting older, growing up and assuming responsibility. The fedora is optional (and not recommended).
  22. The scares here are in the execution, aided by the acting. Bello is, like always, terrific, adding layers to what seems at first like the stereotypical mentally-ill movie character. She's fighting for something. Palmer, too, adds grit to her would-be iconoclast.
  23. It's a somewhat formulaic romp, but it's an utterly winning one.
  24. The film ricochets between Tammy being an oblivious cartoon goblin and a textured, sympathetic human being who just wants to be loved. Perhaps if the film had catered a little less to McCarthy's comedic gifts — the curse-word fugue states, the slapstick humor, the non sequiturs — the end result would have felt more balanced and rewarding.
  25. As cinema, Crime After Crime is nothing special. It would be perfect for a PBS "Frontline" entry. But it reminds us, once again, that little can be quite so riveting as a well-told story from a compelling talking head.
  26. The film is less effective, and less focused, when it switches into activism mode. Not that its heart isn't in the right place — we all know about the appalling state of institutionalized elder care. Which is the problem with those segments: We all know this already, and the filmmaking feels like perfunctory, necessary padding.
  27. Personal Shopper draws you in, interesting from all angles.
  28. The movie isn’t particularly hard to figure out and doesn’t try to be. Its charms lie more in what the actors make of characters that could have been cliches (or, if you’re in a kinder mood, archetypes) and its gorgeous look.
  29. It's mindless entertainment with enough thrills and chuckles to make the time pass painlessly. Just don't examine anything too closely.
  30. The voices are outstanding; the story demands British accents, and with such people as Caine and Smith providing them, so much the better.

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