Arizona Republic's Scores

  • Movies
  • TV
For 1,408 reviews, this publication has graded:
  • 64% higher than the average critic
  • 3% same as the average critic
  • 33% lower than the average critic
On average, this publication grades 2.4 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Her
Lowest review score: 10 The Legend of Hercules
Score distribution:
1,408 movie reviews
  1. Vincent Grashaw's film, although well-meaning (as a postscript reminds us), tries too hard, both in content and form.
  2. 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.
  3. 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.
  4. 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.
  5. Olivier Megaton (he helmed "Taken 2") starts things off at a sluggish pace and never picks up speed. Even the action scenes, which often are filmed in jittery fashion, don't generate thrills.
  6. It strains both credulity and patience in its attempt to be different, and it leaves you feeling creeped out as well.
  7. 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.
  8. A relentlessly unfunny comedy, it wastes the talents of Reese Witherspoon and Sofia Vergara as egregiously as one could possibly imagine, resorting to lame jokes, cliches and incompetent storytelling to pass the time.
  9. There is nothing brave about Bravetown, a film so paint-by-the-numbers bland that its efforts to piggyback the sacrifice of American servicemen and women for emotional depth is downright craven.
  10. The purpose of San Andreas is not to make us think, but to make us gape, to pummel us with effect and effect until we finally give in. Fair enough. Uncle. I need a Tylenol anyway.
  11. Mean-spirited.
  12. It’s a spectacularly wrong-headed, chemistry-free romance, and too dumb to know how sexist it is.
  13. 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.
  14. 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.
  15. Director and co-writer Jeremy Garelick doesn't even reach high enough to pick the low-hanging fruit, opting instead to gather half-rotted, fly-infested jokes off the ground and expect Kevin Hart to make them funny by virtue of being Kevin Hart. Only grudgingly will I acknowledge that he sometimes does.
  16. Aside from the waste of talent, the frustrating thing about The Lazarus Effect is how it cheats. Good horror movies work on internal logic.
  17. 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.
  18. 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.
  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. Written, produced and directed by Christopher Nolen, who gives himself a small role, the movie fails as both a comedy and morality tale.
    • 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. 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.
  22. 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.
  23. Could be fun, you might think. No. Bad acting and worse dialogue quickly put an end to that notion.
  24. 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.
  25. 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.
  26. A mean-spirited little movie, investing its limited charms in all the wrong characters.
  27. 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
  28. 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).
  29. If you like a little bit more in a movie — say, characters that are mildly interesting or a plot that's a wee bit logical — stay far away.
  30. It’s all predictable and, despite the best efforts of Turteltaub and screenwriter Dan Fogelman at something a little risky, it’s pretty lame.
  31. 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.
  32. 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.
  33. You'll laugh, you'll cry, you'll be swept away — about as much as you would be by artificial roses. Movies like this may look like the real thing, but they're not.
  34. Hot Tub Time Machine 2 is a movie that didn't need to be made, and certainly doesn't need to be seen — not when you can rent the original and still feel good about yourself afterward.
  35. 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."
  36. A brittle, pompous drama.
  37. 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.
  38. This is one of those movies you feel stupider just for having sat through. I think I'm already worse at math.
  39. 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.
  40. Simply put, it's a mess.
  41. 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.
  42. 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.
  43. 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.
  44. Dumb, lazy, obvious and largely pointless.
  45. 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.
  46. There is very little on the screen to capture your attention.
  47. It's an unpleasant way to pass a couple summer hours.
  48. It fails to offer as single compelling character as a sacrifice to the angry volcano.
  49. 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.
  50. While the special effects are impressive enough, M. Night Shyamalan's film doesn't make a lick of sense.
  51. Elvis Presley made some bad movies, but let's give the King his due: He never made anything as outright awful as The Identical.
  52. 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."
  53. 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.
  54. Not even the snickering juvenile who lives in the deepest gutters of your brain will get a cheap thrill out of these antics.
  55. Pure preaching-to-the-choir poppycock.
  56. 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.
  57. 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.
  58. There is one good thing you can say about Beastly: The title perfectly sums up what you'll see on screen.
  59. An amateurish-looking disaster that makes you wonder if it isn’t some kind of in-joke, a stunt to see how bad a movie can be and still find its way into theaters.
  60. There is nothing the slightest bit heavenly about this project, which is wrong-headed in just about every department.
  61. On the plus side, Jones is a really good makeup artist, and he is adept at creating gross-out dead people and wounds, and violent acts intense enough that they make you want to look away. On the minus side, the acting and story are so bad you want to look away anyway. Follow that instinct.
  62. 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.
  63. 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.
  64. The project drips with sincerity, which isn't necessarily a bad thing. What doesn't work is the tin-eared dialogue and the utter lack of momentum, both in the script or the direction by Nikita Zubarev.
  65. 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.
  66. We get it, we get it: Capitalism is good, government is bad. But Atlas Shrugged: Who Is John Galt? is worse.
  67. Left Behind is a terrible movie, bad in almost every way, not even qualifying as so-bad-it's-good material.
  68. 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.
  69. 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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