Arizona Republic's Scores

  • Movies
  • TV
For 1,914 reviews, this publication has graded:
  • 61% higher than the average critic
  • 4% same as the average critic
  • 35% lower than the average critic
On average, this publication grades 1.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Short Term 12
Lowest review score: 10 The Legend of Hercules
Score distribution:
1914 movie reviews
  1. It feels like a filmmaker’s exercise rather than an involving motion picture. Although you may never be bored with All Is Lost, you are rarely fully engaged.
    • 83 Metascore
    • 60 Critic Score
    The camerawork makes Mond's film lovely to look at. But whether you want to spend time with James White depends on your tolerance for yet another film about how hard it is for guys who just feel too much.
  2. The club scenes, initially exciting, are ultimately wearying, and the movie meanders about much of the time.
  3. It’s an assured debut from a rising star that nails tone and pace. It would be a solid summer thriller were it not grossly undermined by its astonishingly regressive treatment of its leading lady.
  4. Ornamented heavily with creative visual pleasures, the film is bogged down, not just by weighty thematic issues — death, divorce, bullying, unfairness — but by professions of its own grandeur.
  5. Trachtenberg is patient building this world, and the actors do a good job inhabiting it. Winstead is a terrific actress, and she makes Michelle's desperation and inventiveness believable. Goodman is never better than when playing a nut, and while we aren't sure if that's what he's doing here, the possibility makes for an intriguing portrayal.
  6. 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.
  7. There's no question it looks fantastic...As for the story, well, much like the original Frankenstein's monster, it is a haphazard assemblage of well-aged source materials jolted back to life with new technology, but it isn't quite as sophisticated as one might hope.
  8. Interesting as it is, Narco Cultura aims to tell the story of what’s happened in Juarez and in Mexico (and, by virtue of its immense appetite for drugs, the U.S.). Instead, it feels more like a couple of intriguing chapters.
  9. The film soldiers on through a couple of possible endings, and if its real destination is never truly in doubt, Mbatha-Raw makes the trip interesting.
  10. As far as missteps go, Prince Avalanche is at least an interesting one, which is better than Green has done in awhile.
  11. The movie ultimately winds up falling between two stools, failing as both a biography and an action film. Martial arts fans will naturally be drawn to the story, but the film does nothing to open up the world to outsiders.
  12. It’s never a boring film to look at, but it is often a tiring one. Running over two hours, the film is bloated with portent and repetition, each story taking too long to get to its inevitable moral.
  13. Artfully shot and mooded-up with a jittery ambient soundtrack, Risk is compelling because the enigma of Assange is compelling.
  14. In The Internet's Own Boy, writer-director Brian Knappenberger ("We Are Legion: The Story of the Hacktivists") paints a portrait of Swartz as a martyr for the information age, but ultimately the story falls short of such mythic ambition.
  15. While individually some of the scenes are terrific, they don't add up to much, making Hail, Caesar! one of the Coens' lesser comedies, better than "Intolerable Cruelty," say, but nowhere near the genius of "The Big Lewbowski."
  16. Doesn’t plumb the depths of adolescent emotions and high-school politics so much as skims the surface in a psychedelic dinghy.
  17. Pete’s Dragon is a good movie. But it could have used a little more of the magic its characters are searching for.
  18. It is clean, crisp and passionless. You almost wish for some Bravo sleaze to add a little edge to the proceedings.
  19. Less obvious is how his parents will react should Ravi break ways with tradition and confess his true feelings. Their struggle to maintain their sense of cultural identity in a rapidly changing world is far more moving than any grown man’s commitment issues, even when that grown man is as ingratiating as Ravi.
  20. A movie that never quite comes to life, despite its title.
  21. In spite of the compelling raw material in the lives of its ostensible subjects, it strikes out as an act of storytelling.
  22. The performances are certainly compelling.
  23. An emotionally inert film that never pulls viewers into the spiraling web of deceit that the couple face.
  24. It's also a head-scratcher: How did a movie this stubbornly old-fashioned ever get made by such a trendy French director as Francois Ozon.
  25. Although the visuals are spectacular — a barren Colorado River looks like a landscape from a science-fiction epic — there's not much else here to grab on.
    • 68 Metascore
    • 60 Critic Score
    The road-trip comedy is well-traveled territory, especially in indie films. But there's something unexpectedly refreshing about Land Ho!
  26. The film is interesting and at times enlightening, but it's all over the map.
  27. There’s a story within a story here, one more compelling and relatable than the other. Perhaps that’s by design. But even if that’s the case, it doesn’t mean the two parts co-exist comfortably, no matter what the intent.
  28. It’s as if Boyle is saying he isn’t afraid to visit the past. And he does it about as successfully as one could — T2 is a movie worth seeing and enjoying if you’ve seen the first film (less so if you haven’t). What he’s not as successful at is telling us why.

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