Arizona Republic's Scores

  • Movies
  • TV
For 1,516 reviews, this publication has graded:
  • 63% higher than the average critic
  • 4% 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 Inside Out
Lowest review score: 10 The Legend of Hercules
Score distribution:
1516 movie reviews
  1. The Woman isn't simply a gore-fest. It's just mostly a gore-fest, with a little more going on, as well.
  2. It’s all very competent, containing all the separate components we ask of period pieces and literary adaptations: great actors, dramatic staging, lush scenery, elaborate costuming. It looks as pretty as a tightly cinched corset, and leaves just as little room to breathe.
  3. Pacino and his director don't get back to basics — given that Pacino plays the title character, an aging rock star who long ago sold out, that wouldn't make sense. But the actor brings such a charming attitude to the role that his performance feels far more genuine than the story itself.
  4. Joy
    The script feels not half-finished, but maybe three-quarters. Lawrence does what she can to make up the missing 25 percent, but even she can’t perform miracles.
  5. There's a welcome lack of pretension to the proceedings. Stalwarts like Hurt and Ian McShane are on hand to class up the joint — everyone's got a British accent except for Johnson — while the predictable story bludgeons its way towards an inevitable conclusion.
  6. Kidman and Firth both deliver compelling performances, although this kind of plot-driven fare is no real challenge to their considerable acting talents.
  7. The film is interesting and at times enlightening, but it's all over the map.
  8. A too-good Gru is a boring Gru. No matter how much you crank up the adorability factor or offer up the occasional laugh, there is no getting around that.
  9. This trip isn’t so notable. It’s not bad. Some bits are enjoyable. But ultimately, other than some genuinely impressive visuals, it never makes a compelling-enough case to justify its existence.
  10. Hafstrom creates a nice, creepy vibe, especially for the first part of the movie, which has a menacing atmosphere. Too bad he doesn't sustain it.
    • 58 Metascore
    • 60 Critic Score
    Despite the heavy themes, "100-Year-Old Man" keeps the tone light. It is a comedy, after all. The laugh-o-meter needle hovers fairly consistently on "amused grin."
  11. Director Mark Waters manages to wring some charm out of the film, and out of Carrey.
  12. The movie, like Jackie, loosens up a bit, and her relationship with Ian adds a nice bit of warmth. Hunt directs the film, and at times its tonal shifts are a bit jarring.
  13. Odd indeed. In a good way, mostly.
  14. Zwick can't seem to decide what the movie is - a refreshingly frank comedy about sex and commitment, or a more-serious look at illness and its effect on relationships.
  15. Newbie director Aleksander Bach handles the project with a competent precision. The film doesn’t rise above the genre and the plot is muddled, but he pulls off the basic elements with a distinctly chilly European style.
  16. The best of the lot. It's not great, but the mean-spiritedness that permeated the first film and stuck around a bit for the second is mostly gone.
  17. Kahlil Gibran’s The Prophet is a hit-and-miss affair, easy on the eyes but nothing to write home — or a term paper — about.
  18. Acting (and story) take a back seat to the visual display. Eubank shows confidence with each shot, whether it takes place in a desert vista or a clinical government slab. What's it all mean? It's unclear, except meaning that Eubank is a talent to watch.
  19. Thanks to a good cast and a willingness to stray fairly far afield from the source material, it’s better than you might think.
  20. The acting is good, the story of doomed lovers suitably tragic. But the film is never quite moving in the way one would hope.
  21. Vacth is good throughout. It's tough to make a disaffected character hold your interest, but she does.
  22. Interesting as it is, Narco Cultura aims to tell the story of what’s happened in Juarez and in Mexico (and, by virtue of its immense appetite for drugs, the U.S.). Instead, it feels more like a couple of intriguing chapters.
  23. There are few issues more bitterly divisive than abortion, with emotions and rhetoric running at fever pitch. October Baby is a faith-based movie that resides staunchly in the pro-life camp. Yet directors Andrew and Jon Erwin, who also contributed to the story, rarely let their film get didactic, instead going for a more low-key approach.
  24. None of the characters, save Ada, is interesting enough to sustain the creaky joints of the convention of the story mechanism.
  25. Despite the lethal force that inevitably gets applied to poor Lisbeth, we never really fear for her safety, but we do fear for her future happiness. That is where the real drama lies.
  26. Probably it's a combination of those and other elements that leads to Diaz's bad teacher not being as bad as she might have been and Bad Teacher not as good as it could have been.
  27. The film looks terrific, with a fantastical forest coming to 3-D life. Swooping birds, flying arrows and more make good use of the technology. But the best films use technology as a storytelling device, not as a substitute for story itself.
  28. While the good outweigh the bad, it's a close race. But what is good, particularly a heartbreaking performance by Allison Janney, is really good, enough so that Colfer emerges as a talent worth watching on the page, not just on the screen.
  29. The movie drags on way too long, but there are things to like.

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