Arizona Republic's Scores

  • Movies
  • TV
For 1,822 reviews, this publication has graded:
  • 62% higher than the average critic
  • 4% same as the average critic
  • 34% lower than the average critic
On average, this publication grades 2.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 64
Highest review score: 100 Short Term 12
Lowest review score: 10 The Legend of Hercules
Score distribution:
1822 movie reviews
  1. If you like a little bit more in a movie — say, characters that are mildly interesting or a plot that's a wee bit logical — stay far away.
  2. It’s hard to get excited about any of the on-screen happenings, because director Justin Lin can’t seem to hit the right notes.
    • 57 Metascore
    • 30 Critic Score
    Long-winded, tiresome and free of any tension, The Company You Keep will ultimately be remembered as a Redford vanity project, in every sense of the word.
  3. A mean-spirited little movie, investing its limited charms in all the wrong characters.
  4. While its audacity is laudable, the film ultimately has all the thrill of watching someone else play a first-person-shooter video game.
  5. There are plot twists galore, but they unfold in ham-fisted fashion, as if the screenwriter (newbie Brian Tucker) didn't know how to layer the mystery. Instead, the movie simply drops these secrets out of nowhere, in clunky fashion.
  6. It’s all predictable and, despite the best efforts of Turteltaub and screenwriter Dan Fogelman at something a little risky, it’s pretty lame.
  7. Overall the film is goofy, slight, without a truly deep thought in its pretty little head. And for a movie with vampires and werewolves, the only scary thing is in the title - "Part 1," which means "Part 2" is on its way. Shudder.
  8. It comprises some 20 talking heads, each pretty much saying the same thing, interspersed with film of children dressed up as mythical heroes, enacting the stages of the "hero's journey."
  9. Mean-spirited.
  10. Vincent Grashaw's film, although well-meaning (as a postscript reminds us), tries too hard, both in content and form.
  11. The purpose of San Andreas is not to make us think, but to make us gape, to pummel us with effect and effect until we finally give in. Fair enough. Uncle. I need a Tylenol anyway.
  12. The Purge is one of those unimaginative horror flicks that depend on skreeky music and sudden appearances to startle, but never actually frighten, the audience. The characters are undeveloped, the twists clumsily telegraphed and unsurprising.
  13. Josh C. Waller’s movie is just prurient nonsense, a film only a couple of notches up from the women-in-prison films that were popular years and years ago.
  14. Jenkins is a fantastically adaptable talent. It helps that his character here is supposed to be innately likable (by everyone, evidently, but his girlfriend's family), since Jenkins is so likable as an actor. Good thing, because there is little else to like about Darling Companion.
  15. There is one good thing you can say about Beastly: The title perfectly sums up what you'll see on screen.
  16. If nothing else, it's consistent — consistently stupid, with things like character development and story advancement never getting in the way of another parkour stunt.
  17. It fails to offer as single compelling character as a sacrifice to the angry volcano.
  18. Nothing feels believable in “Big Stone Gap,” a bungled, charm-free look at small-town life in the South in the late '70s.
  19. It's definitely not taking advantage of a talented supporting cast, as Greg Kinnear, Kelsey Grammer, Seth Meyers and Christina Hendricks are among those wasted.
  20. If there’s any social commentary being made here, it doesn’t come through in performances so wooden you can’t tell if the actors are that bad or the characters that vapid.
  21. There is very little on the screen to capture your attention.
  22. The script, written by the actress, is downright wretched at times.
  23. There is something admirable about Fun Size. Not in how it succeeds, because it doesn't. Whoo, boy, it doesn't. Rather, in how bad it is on so many levels, in how it will offend and disappoint different segments of its audience for different reasons. It's an equal-opportunity bad movie. Something to hate for everyone! [25 Oct 2012]
    • Arizona Republic
  24. It’s not that overwrought violence and human depravity are unfit grist for art, but without a compelling plot and a modicum of character development, all this film has to offer is a repugnant prurience and heavy-handed atmospherics.
  25. There is nothing brave about Bravetown, a film so paint-by-the-numbers bland that its efforts to piggyback the sacrifice of American servicemen and women for emotional depth is downright craven.
  26. Paul Schrader, the once-brilliant screenwriter of such films as “Taxi Driver” and “Raging Bull,” has fashioned a movie that seems to exist to be repugnant. Maybe that’s the point; it was written by Bret Easton Ellis. Nearly every character in this movie is unlikable.
  27. For a movie filled with amateur porn, sex toys, cocaine and Cameron Diaz's butt, "Sex Tape" is awfully tame. You're in greater danger of taking a nap than needing a safe word.
  28. Another entry in a long line of good video games adapted into terrible movies, Assassin’s Creed is ragingly stupid. That its incoherent plotline is treated with the utmost reverence by skilled thespians only brings its idiocy into sharper relief.
  29. There's just not a lot to like here, with the exception of what may be one of the all-time best bad movie lines, one Conan utters to Tamara as a kind of personal credo: "I live. I love. I slay. I am content."

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