Arizona Republic's Scores

  • Movies
  • TV
For 1,136 reviews, this publication has graded:
  • 65% higher than the average critic
  • 3% same as the average critic
  • 32% 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 Winter's Bone
Lowest review score: 10 The Legend of Hercules
Score distribution:
1,136 movie reviews
  1. A mean-spirited little movie, investing its limited charms in all the wrong characters.
  2. Jonah Hex somehow manages to waste the talents of Josh Brolin, John Malkovich, Michael Fassbender, Will Arnett, Aidan Quinn and Jeffrey Dean Morgan in a story that combines vengeance, the occult and an Old West war on terror (really).
  3. Dumb, lazy, obvious and largely pointless.
  4. While the special effects are impressive enough, M. Night Shyamalan's film doesn't make a lick of sense.
  5. Two very important things to note about Vampires Suck: The film is a spoof of the "Twilight" movies, and the title is a good indication of where the level of wit lies.
  6. It strains both credulity and patience in its attempt to be different, and it leaves you feeling creeped out as well.
  7. Mean-spirited.
  8. The acting is so poor and the story so badly told that the viewer's feelings about Rand's novel - an epic ode to free-market fundamentalism - are almost immaterial.
  9. There's just not a lot to like here, with the exception of what may be one of the all-time best bad movie lines, one Conan utters to Tamara as a kind of personal credo: "I live. I love. I slay. I am content."
  10. Overall the film is goofy, slight, without a truly deep thought in its pretty little head. And for a movie with vampires and werewolves, the only scary thing is in the title - "Part 1," which means "Part 2" is on its way. Shudder.
  11. You know it's not working when you don't care about any of them. Sadly, that's the case with Answers to Nothing, Matthew Leutwyler's dud about a revolving cast of characters in Los Angeles.
  12. Jenkins is a fantastically adaptable talent. It helps that his character here is supposed to be innately likable (by everyone, evidently, but his girlfriend's family), since Jenkins is so likable as an actor. Good thing, because there is little else to like about Darling Companion.
  13. The movie is plagued with long stretches of dialogue-free contemplation and static shots of nature happening. At only 83 minutes, the film is too slight to feel so padded.
  14. This is one of those movies you feel stupider just for having sat through. I think I'm already worse at math.
  15. General Education is kind of like a science-fair project slapped together at the last minute -- a sad, withered potato pierced with copper wires, rotting on the counter next to a resplendent baking-soda volcano. You can't help but feel a little sorry for the poor spud.
  16. There is something admirable about Fun Size. Not in how it succeeds, because it doesn't. Whoo, boy, it doesn't. Rather, in how bad it is on so many levels, in how it will offend and disappoint different segments of its audience for different reasons. It's an equal-opportunity bad movie. Something to hate for everyone! [25 Oct 2012]
    • Arizona Republic
  17. Could be fun, you might think. No. Bad acting and worse dialogue quickly put an end to that notion.
  18. Simply put, it's a mess.
  19. There are plot twists galore, but they unfold in ham-fisted fashion, as if the screenwriter (newbie Brian Tucker) didn't know how to layer the mystery. Instead, the movie simply drops these secrets out of nowhere, in clunky fashion.
  20. A Glimpse Inside the Mind of Charles Swan III is a curious mess, a movie that doesn’t really seem to have any reason to exist, other than maybe to give writer and director Roman Coppola and star Charlie Sheen something to do for a few weeks.
    • 57 Metascore
    • 30 Critic Score
    Long-winded, tiresome and free of any tension, The Company You Keep will ultimately be remembered as a Redford vanity project, in every sense of the word.
  21. There is nothing about the movie that isn’t utterly predictable. You meet a character, and it’s immediately obvious what’s going to happen to him (or her). And then it happens. Maybe it’s meant to make you feel good about your deductive reasoning skills or something. But mostly it just makes you want to see something else.
  22. It’s hard to get excited about any of the on-screen happenings, because director Justin Lin can’t seem to hit the right notes.
  23. A by-the-numbers thriller that wouldn’t even have made for a particularly good hourlong episode of a weekly crime procedural, never mind an honest-to-God feature-length movie.
  24. It's an unpleasant way to pass a couple summer hours.
  25. A brittle, pompous drama.
  26. Paul Schrader, the once-brilliant screenwriter of such films as “Taxi Driver” and “Raging Bull,” has fashioned a movie that seems to exist to be repugnant. Maybe that’s the point; it was written by Bret Easton Ellis. Nearly every character in this movie is unlikable.
  27. Gomez plays ... well, that’s one of the problems. Her character is so underdeveloped in director Courtney Solomon’s movie that she doesn’t actually have a name.
  28. If there’s any social commentary being made here, it doesn’t come through in performances so wooden you can’t tell if the actors are that bad or the characters that vapid.
  29. It’s all predictable and, despite the best efforts of Turteltaub and screenwriter Dan Fogelman at something a little risky, it’s pretty lame.
  30. The whole thing is sentimental corn, which isn’t bad if it’s handled with conviction and sincerity. But the direction by John Stephenson (better known for special effects than directing) is resolutely stiff and hollow. That’s murder for a movie dealing with miracles.
  31. Josh C. Waller’s movie is just prurient nonsense, a film only a couple of notches up from the women-in-prison films that were popular years and years ago.
  32. By far the scariest thing about director Stuart Beattie’s I, Frankenstein, a terrible would-be horror story that somehow roped in a couple of really good actors, is that the ending seems to suggest the possibility of a sequel. Now that’s horror.
  33. The film is based on a popular series of young-adult books (big surprise), but one figures only die-hard fans will enjoy the result. The movie is slow-witted and moves at a glacial pace.
  34. It’s a spectacularly wrong-headed, chemistry-free romance, and too dumb to know how sexist it is.
  35. It fails to offer as single compelling character as a sacrifice to the angry volcano.
  36. It's big, it's loud and it's all over the place, never really making a lick of sense. To his credit, sort of, director Michael Bay tries to insert a little story into the film early on, even a little humor, but that's overrun at some point by explosions and plot digressions.
  37. Dinesh D'Souza's America: Imagine a World Without Her paints a genuinely troublesome portrait of the country — just not at all in the way he intends.
  38. For a movie filled with amateur porn, sex toys, cocaine and Cameron Diaz's butt, "Sex Tape" is awfully tame. You're in greater danger of taking a nap than needing a safe word.
  39. There is very little on the screen to capture your attention.
  40. Vincent Grashaw's film, although well-meaning (as a postscript reminds us), tries too hard, both in content and form.
  41. Maybe your kids will insist that you see Furry Vengeance. Then again, wouldn't this be the perfect time to let them test their independence and sit through it alone? Otherwise, good luck. You have my condolences.
  42. There is one good thing you can say about Beastly: The title perfectly sums up what you'll see on screen.
  43. It's definitely not taking advantage of a talented supporting cast, as Greg Kinnear, Kelsey Grammer, Seth Meyers and Christina Hendricks are among those wasted.
  44. It comprises some 20 talking heads, each pretty much saying the same thing, interspersed with film of children dressed up as mythical heroes, enacting the stages of the "hero's journey."
  45. There is nothing the slightest bit heavenly about this project, which is wrong-headed in just about every department.
  46. It means to be an interconnected story, in which one coupling leads to another in increasingly ridiculous fashion, until you're not only no longer interested, you're grinding your teeth, hoping it will end.
  47. Not even the snickering juvenile who lives in the deepest gutters of your brain will get a cheap thrill out of these antics.
  48. Pure preaching-to-the-choir poppycock.
  49. The Purge is one of those unimaginative horror flicks that depend on skreeky music and sudden appearances to startle, but never actually frighten, the audience. The characters are undeveloped, the twists clumsily telegraphed and unsurprising.
  50. It’s hard to imagine another comedy coming along this year that is this abrasive and free of laughs. It’s like everyone involved intentionally tried to create a horrible movie.
  51. It’s not that overwrought violence and human depravity are unfit grist for art, but without a compelling plot and a modicum of character development, all this film has to offer is a repugnant prurience and heavy-handed atmospherics.
  52. If nothing else, it's consistent — consistently stupid, with things like character development and story advancement never getting in the way of another parkour stunt.
  53. Elvis Presley made some bad movies, but let's give the King his due: He never made anything as outright awful as The Identical.
  54. We get it, we get it: Capitalism is good, government is bad. But Atlas Shrugged: Who Is John Galt? is worse.
  55. The whole thing is a total bore; even the supporting players aren’t motivated enough to attract attention. That’s good news for Lutz; he can’t be blamed for torpedoing the project, because everyone is doing subpar work here.

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