Arizona Republic's Scores

  • Movies
  • TV
For 1,403 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 Stories We Tell
Lowest review score: 10 The Legend of Hercules
Score distribution:
1,403 movie reviews
  1. 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.
  2. 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.
  3. 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.
  4. Téchiné's fidelity to the facts delivers a disappointing denouement to an intriguing character study.
  5. 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.
  6. 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.
  7. 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.
  8. Doesn't attempt much, doesn't accomplish much, doesn't offer much and doesn't leave you with anything memorable to take home with you.
  9. We’ve seen the elements that make up Paper Towns before, but that’s OK. Schreier proves adept at avoiding clichés, and is helped by his actors.
  10. This is Ferrell's movie, meaning some inspired laughs sandwiched between annoying bits that stretch on well past their usefulness.
  11. As reinventions of fairy tales go, this one has some pretty big holes. Not all of the twists on the story work, but for the most part it's well-meaning, goofy good fun.
  12. Due Date should be a disaster, derivative of every road-trip movie you've ever seen. What prevents that are the efforts of the two stars.
  13. Good for its uncommonly level-headed characters, less so for viewers watching a movie in which not much happens.
  14. A jumbled, messy movie that has some winning moments but jumps around too much to hold your interest for long.
  15. It's asked in the film, "How many new lives can we have?" The answer, it turns, is however many we want. And as long as Dench, Smith, Nighy and Imrie stick around, the same probably is true of "Marigold" movies.
  16. Ribisi has become the go-to guy for movie psychos, giving everything to performances like this one or as Moburg, the dissolute reporter in "The Rum Diary."
  17. Sarah Burns steals scenes as a seemingly prim social worker, and Melissa McCarthy (Sookie on "The Gilmore Girls") does the same as a pushy neighbor. The supporting cast serves up enough small moments of surprise to keep this formula flick from falling flat.
  18. Life lessons are learned, children do some growing up, nothing too terribly upsetting happens, and the corniness is, mostly, kept to tolerable levels.
  19. Although everything here works for the most part, there is also a definite lack of oomph as the movie pushes toward the inevitable climax.
  20. What ultimately waters down a movie like Touchback, aside from a really sappy ending, is that we know the answers going in.
  21. The many battle sequences, though carefully detailed, are lacking in energy and originality. There is some ambition here, but the results fall short.
  22. It's an uneven proposition, veering wildly from genuinely funny scenes directly into ridiculousness and back again. But every time Shawn Levy's movie makes that journey, it's harder to get back on solid footing.
  23. An enjoyable movie, in many ways a beautiful movie to look at. One only wishes he'd been a little more ambitious.
  24. Instead of delving into the moral questions WikiLeaks asks by its very existence, Condon gives those a passing nod in a couple of weak subplots.
  25. At least [Teller's] presence, along with Woodley's, makes Insurgent good, if not great. And it's not too late to keep improving.
  26. There's just nothing magical about the story, nothing that lifts it above its status as an agreeable song-and-dance movie, a laugh here, a laugh there, pleasant but overly busy, for seemingly no real reason other than to throw a few more set pieces at the wall to see what sticks.
  27. The sequel's target audience may be too young to realize that the best punch lines are long past their expiration date, but at least they're learning the idea of the catchphrase. They can hear the exclamation points.
  28. For a film about art forgeries, The Art of the Steal is itself something of a forgery, a painstaking, brushstroke-by-brushstroke re-creation of masterworks dreamed up by better artists. And like a good forgery, it's enjoyable on the surface, but loses its charm a bit once you do some digging.
  29. Ultimately, the best relationship in the movie remains that of Holmes and Watson, which is to say, Downey and Law. Their pairing is what makes the movie; the explosions and bells and whistles Ritchie employs are mere distractions.
  30. It's a soapy, predictable ride where everyone learns about the importance of family. And though it's just a Christmas tree away from being a holiday special, the stellar cast wrings just enough genuine emotion out of a stale premise to make it mostly sweet.

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