Arizona Republic's Scores

  • Movies
  • TV
For 1,441 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:
1,441 movie reviews
  1. From its bland title to its fair-to-middlin' story, mediocre is the word that fits How Do You Know perfectly.
  2. The filmmakers work at creating a new take on an old protagonist and then don’t really have much new to do with him once they’ve achieved that. It’s a good effort. Just not an entirely successful one.
  3. A lush but fumbling literary melodrama outfitted with an attractive, generations-spanning cast and a puzzle box of three competing narratives.
  4. [Pacino] and Green sometimes overplay their hand. That is, overplay the underplaying, which sounds patently ridiculous but is the exact description warranted here.
  5. It's easy to get sucked into Begin Again, to enjoy the friendly performances and the goes-down-easy songs, and to not even notice until it's over that the film is more a feel-good fairy tale than anything else. We might not have seen much that was truly meaningful in the end, but it was warm and fuzzy while it lasted.
  6. The overall feel is one of a generic, feel-good drama, albeit one with Harrison Ford stomping around most of the time as if someone kicked him in the shins. One suspects that this is a story that deserved better.
  7. After a predictable opening hour, Paradise Lost manages to deliver a surprise or two as it switches gears into a full-on thriller. But it never gets close to the epic heights to which it aspires.
  8. The jokes only make up for the pedestrian plot for so long. There was a time when animated fare with generic stories sufficed. But now we expect more from them, because they have, pardon the pun, evolved. The Croods, like its title family, hasn’t.
  9. Unfortunately, screenwriter Christopher Bertolini has given Eckhart and Liebesman a story so riddled with war-movie cliches that it contains almost nothing else.
  10. The problem with V/H/S, a compilation of sometimes scary horror shorts loosely bound by an overarching plot, is that, no matter how savage, evil or sadistic the killer, the victims almost always come off as bigger jerks.
    • Arizona Republic
  11. In Run All Night, Neeson gives us more of the same, although with Collet-Serra's assistance, it's dressed up in a more interesting package.
  12. The ambitious visual stylings don’t do enough to buoy a film that lacks a certain soaring spirit. If the adaptation is serviceable, it’s also dull — a disappointing fate for a story that’s anything but.
  13. There is a sweetness to Radnor's character and to his film. What there is not is a sense of urgency, of a desire to find out what happens next.
  14. Insidious: Chapter 3 is almost more a spoof of a classic like "The Exorcist" than it is an homage. It's not scary horror, it's silly horror, and the audience is in on the joke.
  15. "Southern fried" is as good a phrase as any to describe The Paperboy...It fits, really, because it causes the same reaction. You eat a mess of fried okra or tater tots, and it's tasty going down. It's only after you're done that you feel a little queasy. [18 Oct 2012]
    • Arizona Republic
  16. Our teenage years are so overwrought with emotion; not to put them in play at all makes Brandy feel like little more than a cipher for Plaza’s deadpan dark humor. And that’s pleasurable enough for a quick fling, but hardly the foundation of a lasting relationship.
  17. If you're willing to accept Killer Elite as a shoot-'em-up action movie with good actors taking the spots of the usual lunk heads (but spouting the usual nonsense), you'll be pleased with the film.
  18. A Madea Christmas, for all its narrative shortcomings, also has plenty of laughs.
  19. What you would expect from the third film in an unlikely franchise: less of the same.
  20. Subtlety may not be Watkins' strong suit, but he knows how to frame a scene for maximum tension and dread.
  21. At Middleton is an almost completely inauthentic little romance that is so genuinely pleasant you’ll enjoy it anyway.
  22. The film spends more time lingering on Emma's love affairs than it does in making sense of them; her declarations of passion and despair lack both.
  23. Attractively staged and spiced through with raunch, About Last Night is still a pleasant enough romp, even if you have no intention of returning its phone calls.
  24. "I didn't hate it" isn't a high watermark for praise, but when it comes to most Sparks adaptations, it's practically as good as winning an Oscar.
  25. Even though Five Armies is the shortest Hobbit movie, it also is the least thrilling as it chugs toward the finish line weighted down with all the added characters and confusing subplots that have been tacked on along the way.
  26. It comes down to a matter of tone, and Clooney can’t really settle on one. The Monuments Men is in no way a bad movie. Just, with this bunch, a disappointing one.
  27. There's nothing particularly earth-shattering here, but maybe that's appropriate for a film honoring food that aims to be mouthwatering but unpretentious.
  28. Quirky, funny and a little claustrophobic (by design), it’s confident enough in what it’s trying to accomplish to take the chance on the title. And what he’s trying to accomplish is ambitious.
  29. Too often Washington is made to simply sit and observe -- which is not a fatal mistake because he is such a good actor that even then he's worth watching. Worse, though, at times he's gone altogether. That's not the only flaw in the fairly straightforward thriller, but it's the biggest.
  30. Even as big-budget blockbusters go, this is a hard movie to connect with.

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