Arizona Republic's Scores

  • Movies
  • TV
For 1,372 reviews, this publication has graded:
  • 64% higher than the average critic
  • 4% same as the average critic
  • 32% 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 The Artist
Lowest review score: 10 The Legend of Hercules
Score distribution:
1,372 movie reviews
  1. Melfi, who also wrote the script, goes for broke on the sappy front. It's a credit to Murray's skill — or maybe the strength of his personality — that he never submits completely to all the heart-string tugging.
  2. It's all well done and cute and forgettable.
  3. The movie makes some observations about the worth of human life — the title refers to the monetary value put on the life of the injured waiter — and the economic class system, but they're not terribly interesting or surprising.
  4. Competent, pretty funny in places, awfully nice to look at, that sort of thing. There’s just not a lot of excitement, though.
  5. Director Marc Forster moves from one thing to the next so quickly the movie plays like a two-hour-plus trailer. Something feels like it's missing here, even at that length.
  6. Is it a good movie? It’s OK. But is it funny? It is, and ultimately that’s all it sets out to be.
  7. If you can ignore the implausibility -- nay, the opacity -- of the plot, the film is wonderfully cinematic, with great photography, exciting editing, fresh camera angles and some impressive CGI.
  8. He (D'Souza) reaffirms many of the complaints against Obama, and when he sticks to the facts is much more persuasive.
  9. Ole Bornedal's film hits enough high notes to make it a worthwhile addition to the exorcism-film heap, somewhere in the lower middle.
  10. How many times have we complained that summer blockbusters are all about the action, at the expense of niceties like character development? Well, Edwards has gone in another direction, one that's more intriguing in theory than on the screen.
  11. Go for Caan and Farmiga, and stay to be surprised by Reeves.
  12. It's all very pleasant, very inspiring, just not very surprising.
  13. It is, at times, a charming reprieve from the usually dour cinematic explorations of Middle Eastern conflicts. But big-hearted and well-intentioned as the film is, it's frequently undone by its own silliness.
  14. The performances are certainly compelling.
  15. Mostly, it's fine. The acting is fine. The writing is fine. The story is fine. There are a few laughs. And that should be fine enough. But with material as rich as Leonard's serving as the foundation, just fine is a disappointment.
  16. A clever, funny movie that will entertain kids and adults.
  17. Wants to scare you, but it can't quite seal the deal.
  18. Pacino, long ago having given up subtlety for bombast, continues along that path here, but he's still fun to watch.
  19. Jeunet's new film, Micmacs, mixes the dark, claustrophobic world of "Delicatessen" and "City of Lost Children," with the happy-ending optimism of "Amélie" and "A Very Long Engagement." It isn't a convincing graft of moods.
  20. It's good enough for a brainless night of fun at the movies, though your enjoyment might hinge on your nostalgia for old-fashioned dude movies, complete with a soundtrack of wailing electric-guitar solos and a wealth of random topless babes. Unfortunately, it could have been a lot better if someone had taken out a hit on the script.
  21. Wild Grass retains a literary feel with the help of an unseen narrator, who offers intriguing poetic observations. And Resnais' visuals are equally lyrical. What can you say: The French sure know how to make pretty pictures.
  22. Broadway Idiot is entertaining enough. Certainly if you’re a Green Day fan, it’s something close to essential. But it never goes too deeply into anything.
  23. A mix of solid action and an underused cast, with star Hugh Jackman left shouldering the burden of bad lines and forced emotion, it leaves you longing for more editing and a tighter story.
  24. Niccol looks at the pilot's struggles and the toll this remote form of warfare takes on his life. It's certainly intriguing, but he tells his story in such broad, obvious strokes that the movie isn't as powerful as it could be.
  25. Levine shows some of the promise that would serve him so well later, but beyond an intriguing look and an initial attempt to put a new spin on the teen-horror genre, “Mandy Lane” winds up being pretty conventional.
  26. All the glossy, kinetic animation and inventive action sequences get lost in the gag machine. The film throws jokes out like a tennis-ball machine on the fritz: gross humor, slapstick pratfalls, bizarre non sequiturs. The randomness does land a few laughs, but it's also exhausting.
  27. Téchiné's fidelity to the facts delivers a disappointing denouement to an intriguing character study.
  28. Southpaw is all about the fist. There’s no delicate footwork here, no lingering grace notes. It’s a film played entirely in power chords.
  29. There is nothing in the film that will keep you awake at night. Instead, The Awakening works much more subtly, with a profound sense of dread and resignation, a death-obsessed movie given life by Hall's performance.
  30. There’s nothing in Thor: The Dark World that wasn’t done better in “Thor,” or a lot better in “The Avengers.” Except Tom Hiddleston’s performance as Loki.

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