Arizona Republic's Scores

  • Movies
  • TV
For 1,100 reviews, this publication has graded:
  • 66% higher than the average critic
  • 3% same as the average critic
  • 31% lower than the average critic
On average, this publication grades 2.7 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Gravity
Lowest review score: 10 The Legend of Hercules
Score distribution:
1,100 movie reviews
  1. Young is one of only a handful of artists from his generation still making vital contributions, or even trying to. Some of his efforts are hit-and-miss, but he's still in there swinging. He never stops moving, changing, evolving, and it makes him fascinating.
  2. What makes the movie so good is Williams' absolute refusal to play along.
  3. With a performance that is wide-ranging by necessity, Kazan makes Ruby immensely likable (as well as clingy, manic, sad, happy and whatever else Calvin wants her to be).
  4. Reality and fantasy become increasingly blurred. And if you want to enjoy Dark Horse, you're just going to have to go with it.
  5. The Queen of Versailles is funny, sad, infuriating, instructive. It's the American Dream inflated to ridiculous extremes, until it bursts.
  6. As creepy as it is fun, and it's plenty of both, ParaNorman will delight fans of old-time horror movies.
  7. It is a tremendous performance by Jones, who co-wrote the script with her own ex-boyfriend Will McCormick, who appears as a drug-dealing friend with surprisingly grounded advice for just about anything.
  8. As Kumaré plays out, both Gandhi and the film become something else, something much more thoughtful and moving. It is, as he puts it, the biggest lie he has ever told and the greatest truth he has ever known.
  9. It's all a seedy, sordid mess, and it only gets worse -- and more and more intriguing. Layton engages in re-enactments of some parts of the story, a tactic that is either helpful or annoying, depending on your appetite for such things.
  10. It is intended for an audience that is willing to take a journey without knowing the destination.
  11. This is a movie that's just out there, beyond our normal experience in a theater. You may walk away impressed or offended by Killer Joe, but Friedkin and McConaughey make sure you won't walk away indifferent.
  12. Malik Bendjelloul really knows how to spin a yarn.
  13. Lawless is one of those movies that feels like it's trying to say something more important than it really is. It could have been better, but with Hardy and Pearce on board, it's plenty good enough.
  14. This is director Jake Schreier's first feature, and, working from a script by Christopher D. Ford, he creates an inviting world.
  15. The perfect movie for fans of "The Daily Show" who actually stick around for the second-half interview. A cinematic memoir based on the one-man show by Mike Birbiglia, it is the aesthetic intersection of Comedy Central and public radio.
  16. It's a style of storytelling that leaves the audience guessing, but it also gives the actors room to breathe, to inhabit their characters without having to explain them away in terms of biography or pop psychology.
  17. Surprisingly entertaining, probably because it uses Wall Street shenanigans and schadenfreude as the backdrop to a crime drama.
  18. The action and the chemistry is stronger than the story, because Gyllenhaal and Peña are good. In that respect End of Watch works better as a series of vignettes held together somewhat loosely by a larger story.
  19. Gordon-Levitt has been so terrific for a while now that he's become a magnetic presence; Willis is also on a nice streak, not as strong here as in "Moonrise Kingdom," but still quite good.
  20. There is an honesty to The Perks of Being a Wallflower, a genuineness of experience that makes the movie soar when it just as easily could have stumbled.
  21. It's this simple: If you like movies, you need to see Side by Side.
  22. It's an engaging, accessible documentary that explores the (truly) eternal questions, "Does hell exist? If so, who ends up there, and why?"
  23. It's all brutal good fun, with laughs scattered generously throughout the bloodshed.
  24. For less patient viewers, the film might play out like an endurance test, a two-hour documentary on wind. But as unforgiving as the glacially paced film is, it's nonetheless utterly absorbing - a cool pink tongue flicking against an open wound. [18 Oct 2012]
  25. Now this is a scary movie. And, given that it's a horror film, that means it's a good one. [18 Oct 2012]
  26. Everyone in the film is good. Offerman and Megan Mullally (as the principal at Kate's school) do well in more-dramatic roles than we're used to seeing them in. Mary Kay Place is harrowing without meaning to be as Kate's mother. [25 Oct 2012]
  27. It's a movie that should be seen, a throwback to a looser, freer cinema. Wake in Fright has a tremendous '70s vibe to it, a "they-don't-make-them-like-this-anymore" feel that is as welcome as a cold beer in the Outback. [25 Oct 2012]
  28. [Washington's is] a tremendous performance. It's when he is on-screen (most of the time) that Zemeckis' film really, if you'll excuse the expression, takes flight.
  29. If you're willing to let a movie wash over you and work at what it might mean, you'll love "Holy Motors," Leos Carax's surreal ode to … identity? Movies? Performance?
  30. It's hard to imagine sitting through the film without Penn in the role of Cheyenne. But there he is, in all his intense, bizarre glory, almost daring us to come along for the ride and rewarding us with a compelling trip when we accept.

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