Arizona Republic's Scores

  • Movies
  • TV
For 1,942 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 1.8 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 Before Midnight
Lowest review score: 10 The Legend of Hercules
Score distribution:
1942 movie reviews
  1. The film feels overlong and a bit repetitious, but it’s obviously a complex subject that deserves a thought-out treatment.
  2. This is a film that finds horror not in the extreme, but in the mundane. That alone makes it a worthwhile entry in a genre that it both inhabits and rises above.
  3. The world Bell creates in In a World ... is so agreeable and inviting you’ll enjoy the visit.
  4. Eschewing a tidy wrap-up, Reeves doesn't leave us feeling manipulated, as so often happens in films like this. Instead, we want to know where the story goes from here, and that's no small accomplishment.
  5. If it’s not great — think of a sort of JV “Commitments” and you’ll have the idea — it is surely winning.
  6. American Honey is a remarkable movie, which doesn’t mean it’s perfect — its imperfections, in fact, are what help make it so urgent, so vital, so real.
  7. The look of the film is jaw-dropping at times, beautiful to behold. If the story... can't quite keep pace with the look of the film (and, alas, it can't) it will take you awhile to notice.
  8. Succeeds in portraying a life so solitary that, even when he knows what's going on, that's a deal Owen is willing to make.
  9. Fences is a feast of brilliant acting, in a story that’s sometimes as difficult as it is powerful.
  10. Even more than an expose of bad reporting and social hysteria, The Witness is an intimate exercise in grief and healing
  11. It may be slow by Hollywood standards, but it's accessible at every moment, and we come away feeling that human character is more complex, and perhaps darker, than any studio is willing to test an audience with.
  12. You can read Emma's affair and its eventual effect on Edoardo as an inverted oedipal thing, or perhaps as a metaphor for decadence, the embodiment of a family that subconsciously realizes it's in decline and must fight to warm its blood.
  13. Malik Bendjelloul really knows how to spin a yarn.
  14. It's all or nothing with Black Swan. Either you embrace its headlong descent into madness brought on by the pressures of artistic perfection, compounded by smothering anxiety, or you reject it. It's that simple.
  15. This is a film as powerful as it is painful.
  16. Think of Drive as the cinematic equivalent of riding in a car that projects a fashionably stylish image. Sure, the gas mileage may be terrible and the engine unreliable, but it's such a smooth, good-looking ride that you'll put up with the annoyances.
  17. Indignation sneaks up on you, and that may be its greatest difference from the blockbuster mentality. Its explosions are quieter, but just as destructive.
  18. You may or may not be surprised by developments here, but it doesn’t really matter. What does is the honesty of the characters and the absolute delight it is to spend time with them.
  19. The Last Man on the Moon is one of those movies we didn't realize we needed, but turns out to be just the thing for our fractured, cynical times.
  20. It’s Allen’s best film in years, an authentic-feeling deconstruction of a life. It isn’t always easy to watch. It isn’t exactly fun (although parts are funny). Blanchett’s performance sometimes overpowers the story. But it’s an essential work in Allen’s later canon.
  21. It Comes at Night is soaked in uncertainty. It makes us uncomfortable because we want answers and can’t have them. And if there’s anyone who knows how to make an audience uncomfortable, it’s writer and director Trey Edward Shults.
  22. Please Give is an almost perfectly rendered slice of life, buoyant with wonderful performances.
  23. Yes, Glazer asks a lot of his audience. At times the movie feels like something you've walked in to the middle of, so you're thrown off balance. Yet it's hypnotic — you want to stick around to see what happens, and maybe just to figure out what the hell is going on.
  24. Johns makes it all bearable. Inviting, even. His performance has such a gentle humanity, especially in the darkest scenes, that you can’t turn away. You don’t just root against the system. You root for him, and that’s an important distinction.
  25. The Dark Knight Rises brings the Batman story to a close in enormous, satisfying fashion, not just on the huge scale it builds for itself, but on a human level as well.
  26. The Lost City of Z is a throwback, an epic film about a grand adventure.
  27. A fantastically entertaining movie.
  28. It's great when a movie messes with your head. And Ex Machina, screenwriter Alex Garland's directorial debut, does just that, pretty much from start to finish. The writer of "28 Days Later" and "Sunshine" purports to examine A.I., or artificial intelligence. What he's really after is something at once more exotic and more relatable — and infinitely less predictable: human nature.
  29. The Tribe is that rare breed of film so masterful in execution it requires watching once, yet so devastating you may never be able to stomach seeing it again.
  30. What it lacks in thematic innovation it more than makes up for with enough memorable characters and visual splendor to make Zootopia a perennial Disney favorite.

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