Arizona Republic's Scores

  • Movies
  • TV
For 2,306 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 1.1 points higher than other critics. (0-100 point scale)
Average Movie review score: 65
Highest review score: 100 There Will Be Blood
Lowest review score: 10 The Legend of Hercules
Score distribution:
2306 movie reviews
  1. It's clear that Wang pours her soul into this movie to make the audience see what she sees.
  2. It’s a surprising film in many ways. Both for its thoughtfulness and the way the plot unfurls into thriller territory as Casey falls deeper under Sensei's spell.
    • 50 Metascore
    • 40 Critic Score
    There is never any doubt where this is going, and the film takes far too long to get there.
  3. In Too Late to Die Young, Chilean writer-director Dominga Sotomayor excavates details from her own memory to unlock a hidden bonus level of starkly original cinematic beauty. This spare coming-of-age story is a slow-burning stunner, despite hardly having a plot at all.
  4. Nanjiani is kind of like Bill Murray. There's just something about him that makes you anticipate something funny coming, if not now, soon, so why not start laughing? I don't know whether it would work in just any film, but here he's such an oasis of intelligence in a desert of comedic stupidity that I'd like to see if it would.
  5. Despite minor hiccups, it really comes down to an entertaining time with no worries — er, "Hakuna Matata."
  6. “Far From Home” ends up being one of the more entertaining and satisfying installments in Marvel’s never-ending story cycle, thanks to a tautly constructed narrative that packs in plenty of fan service without getting overly complicated.
  7. While Midsommar is too overwrought to be a masterpiece, it’s also too entertaining in its abject lunacy and assured in its craftsmanship to be considered a sophomore slump. Aster is a filmmaker still defining his voice, and despite the growing pains, Midsommar is an intriguing step in its evolution.
  8. The Quiet One could have used a lot more complexity.
    • 56 Metascore
    • 80 Critic Score
    Patel does a masterful job of portraying the inner turmoil that comes with a musician having found the fame he thought he always wanted while knowing he's living a lie. And he's great in the musical numbers, which do their best to sound like someone capturing the spirit of those Beatles songs from memory.
  9. An ever-changing obstacle course does sustain its own kind of tension, but it’s not like there’s a real puzzle to solve, nor any arc to the plot. The movie is just a succession of scary stuff happening, haunted-ride-style.
  10. The Proposal makes for a fascinating and not-a-little-morbid piece of artistic trolling.
  11. The handling of the faith aspect is actually one of the stronger parts of the film. Some movies like this lay it on thick, basically existing as a religious recruitment video. Here, and here alone, Ellis lays off and lets the audience think things through. The message is more effective this way.
  12. The “Toy Story” saga felt fully complete without it, which makes this a movie that doesn’t really need to exist, but whose existence doesn’t diminish the whole, either.
  13. “Last Black Man” pulses with undeniable energy and the promise of other, even better films to come. As director Joe Talbot’s first movie, it’s impossible to imagine it will be his last.
  14. The buddy comedy Papi Chulo could go wrong in all sorts of ways, so it’s kind of a minor miracle how much it actually gets right. Funny, empathetic and tender, it pretty much sneaks up and catches you off-guard with its sly charms.
  15. It’s ironic that a film about bucking formula is itself so formulaic. There’s nothing wrong with such inoffensive pleasantness, but if Late Night wants to advocate setting fire to the system in pursuit of more meaningful art, it should have led the charge.
  16. The Dead Don’t Die isn’t bad, exactly. It’s just that with all this talent and all this beautiful weirdness at hand, it could have been so much better.
  17. In the end, this may be a case of a pop-culture icon being dragged down by the weight of trying remain relevant past its prime. It’s not woke, but you can’t call it racist. Maybe racist-ish. Misogynistic-ish. Entertaining-ish.
    • 38 Metascore
    • 40 Critic Score
    If you insist on seeing Men in Black: International, do yourself a favor and zap yourself with an official MIB neuralyzer, erasing all memories of previous films in the franchise.
  18. Maybe Pavarotti would be even more compelling if Howard had delved deeper into the contradictions and controversies. But the director does achieve the first goal on entertainment: Always leave them wanting more.
  19. The animation is clean and colorful, and punchlines hit their mark with adults and children under director Chris Renaud's guidance for a second time. But they also heavily hit audiences with action from three loosely tied story lines, making many "meanwhile" breaks between stories. It is a movie for kids, after all.
    • 47 Metascore
    • 40 Critic Score
    Loopers: The Caddie's Long Walk treads far too lightly upon a decades-long racial divide between caddies and golfers, falling silent on the subject as a hushed gallery during a backswing.
  20. You come to a Godzilla movie for the epic fights, and on that front, Dougherty delivers.
  21. Ma
    Ma is one loony little horror film, and Octavia Spencer has a grand old time being the craziest thing in it.
    • 69 Metascore
    • 80 Critic Score
    Give in to the fantasy and it's a fun and fascinating ride that offsets moments of real pathos (from heartbreaking portraits of childhood rejection to him literally hitting bottom in his swimming pool) with scenes that definitely capture the exhilaration of becoming Elton John
  22. The pacing and writing are as smart as the film's title. Early moments are worth a chuckle, but the laugh-out-loud, top-shelf jokes happen when night falls.
  23. As much as Swinton Byrne and Burke add lived-in qualities to their characters, there's really not much to like about the leads or their toxic relationship that unravels at a mind-numbing pace.
  24. It all has the air of a community theater troupe performing in a Disney parade, overeager in the exaggerated artifice. That's well enough for an amusement park, but on film it's embarrassing.
    • 49 Metascore
    • 20 Critic Score
    While the film’s last 30 seconds are refreshing, they hardly redeem the previous 90 minutes of utter predictability.

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